Christmas Leftovers & New Year's Resolutions

Matt The Cat has dug up some more R&B Christmas treasures and added a few tunes about New Years for this week’s continuation of the “Juke In The Back” R&B Christmas Special.  The holiday juke is jumpin’ with cool tunes by Big John Greer, Champion Jack Dupree, Lowell Fulson, The Moonglows, Marvin & Johnny and many more.  The range of topics is wide, from dancing Santas to lonely Christmases to making up with your baby on New Year’s Eve.  So get hungry for some Christmas leftovers and plan your New Year’s resolutions this week with Matt The Cat on the “Juke In The Back.”

Early Jackie Wilson & The Sound of Vocalese

Drop a nickel in the ol' Rockola Juke for an hour of pre-rock rhythm & blues.  This week, we feature the very first recordings made by Jackie Wilson.  His first sides, cut as Sonny Wilson as well as leader of Billy Ward & His Dominoes from 1952-53 are in the spotlight.  Everyone must start somewhere and these early recordings give us a glimpse of Jackie's amazing power as a singer.  Also, we examine the brief vocal jazz phenomenon known as Vocalese, which top-notch records from King Pleasure, Annie Ross and many more.  Vocalese hit hard in 1952 and then virtually disappeared.  Since many R&B records during this time were made with jazz musicians playing the sessions, it only makes sense to feature some jazz on the "Juke In The Back."

Specialty Records Pt. 1

This week, the "Juke In The Back" is full of old records from one of the greatest record labels of all-time, Specialty Records.  Art Rupe started the label in 1944 as Juke Box Records and at the age of 93, Rupe is FINALLY being inducted into the Rock Hall this year.  Part 1 of this multi-part feature will focus on Specialty's early years, featuring not only the enormous hits from Roy Milton & His Solid Senders, Jimmy Liggins, Camille Howard and Joe Liggins, but also the lesser known releases by The Sepia Tones, The Blues Woman, Big Maceo and more.  Find out how this great label began on this week's "Juke In The Back" with Matt The Cat.

Specialty Records Pt. 3

This is the third and final part of "Juke In The Back"'s tribute to Specialty Records.  This week, host Matt The Cat looks at Specialty's hit-making heyday of 1953-56, featuring Marvin & Johnny, John Lee Hooker, Jesse Belvin and Little Richard!  The label's founder, Art Rupe is finally getting inducted into the Rock n' Roll Hall Of Fame this year.  Rupe was a major force in presenting rhythm & blues to the masses and introducing the world to Little Richard, who's musical impact is still being felt today.  The birth of Rock n' Roll can be traced back to Specialty Records, find out why on the "Juke In The Back."

Eddie "Cleanhead" Vinson

This week, the "Juke In The Back" honors one of the greatest blues shouters of all-time, Eddie "Cleanhead" Vinson.  He burst on the scene in 1944 with a cover of the Joe Turner classic, "Cherry Red Blues" as the vocalist for the Cootie Williams Orchestra.  He remained with Cootie Williams until 1945, when Vinson cut out and formed his own orchestra.  He signed with Mercury and scored the biggest hit of his career in 1947 with "Old Maid Boogie" and "Kidney Stew Blues."  He entered that R&B charts one more time in 1949 with the sequel to "Cherry Red Blues" with "Somebody Done Stole My Cherry Red."  For those in the know, Eddie "Cleanhead" Vinson is an R&B, jazz and blues shoutin' treasure, but for those who missed the boat, he's forgotten.  Join Matt The Cat as we remember one of the all-time greats on the "Juke In The Back."

The Du-Droppers

Matt The Cat presents another highly underrated R&B vocal group from the 1950s: The Du-Droppers. They didn't sound like the stereotypical "doo wop" groups of the era and they weren't your standard rhythm group either. The Du-Droppers had a sound that was all their own. Their leader, JC Ginyard began his career in Gospel groups and you can really hear that influence on the Du-Droppers' best material. The group's first single for Bobby Robinson's Red Robin label was a sequa record to the Dominoes' smash, "Sixty Minute Man," called "Can't Do Sixty No More." Once they signed with RCA Victor, they scored two of the biggest smashes of 1953. Dig the sound and get the story behind the Du-Droppers, this week on the "Juke In The Back," the "soul that came BEFORE rock n' roll."

The Chords

This week's "Juke In The Back" digs deep into a group that is usually only remembered for one, incredibly influential tune, "Sh-Boom."  The Chords cut that tune in 1954, right at the height of America's fear of the Atomic Bomb and this song did more for helping to launch rock n' roll than almost any other.  In fact, the tittle "Sh-Boom" was meant to simulate the sound of an A-Bomb explosion.  Even though their label didn't believe in "Sh-Boom," they just couldn't stop it, but unfortunately, they didn't do much to promote The Chords subsequent releases.  They were forced to change their name to The Chordcats, due to a lawsuit and then dropped that name in favor of The Sh-Booms.   Matt The Cat digs up the story behind the story of The Chords and their great recordings on this episode of the "Juke In The Back."

Wynonie Harris

Part 2

It's part 2 of our 2 part series on Wynonie "Mr. Blues" Harris, one of the greatest blues shouters of all time.  This week, Matt The Cat focuses on Harris' hit-making years of 1948-1952, when he ruled the rhythm & blues charts.  "Grandma Plays The Numbers," "All She Wants To Do Is Rock," "Bloodshot Eyes," "Lovin' Machine" and many more Wynonie Harris classics spun in high numbers on the jukeboxes, so drop a nickel in the "Juke In The Back," cause "Mr. Blues" is gonna ROCK!

Early Lavern Baker & R&B Baseball Songs

This week, "The Juke In The Back" looks at how one of R&B's greatest voices, Lavern Baker, got her start.  Matt The Cat collects ALL of Baker's early records together in one place.  From her first recordings with the Eddie "Sugarman" Penigar Orch to her breakthrough sides with The Todd Rhodes Orch and all the records in-between.  You can really hear how Baker's sound evolved between 1949 and 1953.  Her true breakthrough wouldn't come until "Tweedlee Dee" became a huge R&B and pop hit in 1955.

Plus, in our "Harlem Hit Parade," celebrate America's National Pastime with a collection of R&B baseball songs.  Soon after Jackie Robinson broke the color barrier and signed with the Brooklyn Dodgers in 1947 and Larry Doby went to the Indians, blues and rhythm artists started singing about a game that could now be enjoyed by everybody.

"The Juke In The Back" features the underground R&B music that directly influenced the birth of rock n' roll, but is seldom heard or respected on the radio.

Grab a nickel and dig on "The Juke In The Back."

History 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, “Junker’s Blues.”  He learned the tune from New Orleans boogie woogie pianist Drive ‘Em Down, but it was Dupree’s recording that influenced Fats Domino, Lloyd Price and Professor Longhair.  We’ll 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.”

Pee Wee Crayton

The "Juke In The Back" honors one of the greatest, yet more underrated originators of electric blues guitar: Pee Wee Crayton.  Matt The Cat digs deep into Crayton's musical catalog and dusts off more than just his three charting R&B hits.  You'll also get to hear the fantastic and inspired recordings he cut in New Orleans with bandleader Dave Bartholomew as well as his Vee-Jay Records sides.  Pee Wee Crayton's story comes to life through his music on this week's "Juke In The Back."

The Crickets

The "Juke In The Back" is loaded with records by the 1950s R&B vocal group, The Crickets.  They hailed from The Bronx and only recorded from late 1952 to 1954, but man did they lay down some sweet harmonies.  Buddy Holly would take the name to the top of the charts, but these guys had it first.  Grover "Dean" Barlow led the group vocally, but it was record label owner Joe Davis that would ultimately control their fate.  Matt The Cat tells the story of the original Crickets and their 3 group incarnations on this week's "Juke In The Back."

Big Joe Turner Pt. 2

This week, we continue our salute to the great blues shouter, Big Joe Turner with part 2 of 2. The show opens in 1951, with Turner’s first recording session for his new label, Atlantic and continues through to his cross-over pop success in 1956. This is the most successful stretch in Joe Turner’s long recording career. He would score 19 R&B hits during the 1950s and only 1 of them would ever touch the pop top 50. Matt The Cat talks to the late Ahmet Ertegun about signing Turner to Atlantic and James Austin talks to the late Joe Turner about signing with that great label. Joe Turner’s records almost single-handedly invented rock n’ roll, so don’t miss this great tribute to one of America’s true blues treasures.

The Checkers

The "Juke In The Back" features another highly underrated R&B vocal group from the 1950s: The Checkers.  They never scored a national hit, but they're one of the finest examples of polished 1950s R&B and their story deserves to be shared.  The Checkers were formed after tenor Charlie White and bass Bill Brown split from Bill Ward & His Dominoes.  They had some region success with "House With No Windows," an uptempo version of "White Cliffs Of Dover" and "Don't Stop Dan," the sequel to "Sixty Minute Man."  Matt The Cat digs through a mess of King Records 78s to bring you the best and most influential sides that this great R&B vocal group has to offer on this week's "Juke In The Back."

Billy "The Kid" Emerson

The "Juke In The Back" with Matt The Cat features Billy "The Kid" Emerson, a talented R&B singer and songwriter who never had a hit record, but his songs were covered by the likes of Elvis Presley and Billy Riley.  Originally from Tarpon Springs, FL, Billy Emerson burst on the scene in 1954, with the help of friend Ike Turner.  He released a string of stellar R&B records for Sun, before moving on to Vee-Jay, Chess and many others.  Elvis recorded Emerson's very soulful, "When It Rains It Pours" and Billy Riley made Emerson's "Red Hot" a rockabilly standard.  Billy "The Kid" Emerson's story and music is the feature of this week's "Juke In The Back."

Before Motown

The entire "Juke In The Back" this week features Motown's biggest acts, BEFORE there even was a Motown Records and before those acts were household names. Matt The Cat spins the earliest records by The Miracles (1958), The Four Tops (1956), The Supremes (as The Primettes) and many more. Marvin Gaye's first recordings with The Marquees are discussed with fellow group member, ReesePalmer. You'll get the real story behind the story as to how DC's Marquees became the "new" Moonglows as well as hear the original Bo Diddley produced version of the Marquees' "Wyatt Earp," which Okeh Records wouldn't release. All this and more on this week's, "Juke In The Back."

Ivory Joe Hunter Part 1

This week, the "Juke In The Back" spotlights one of the most underrated hit-makers of the 1940s and '50s, Ivory Joe Hunter. Today, most people only know a handful of Hunter's hits, but between the years 1945-1958, he scored 21 R&B hits. He was a prolific piano player who constantly blurred the lines between rhythm & blues and country & western music and was very successful for it. This week, Matt The Cat plays all of his charting hits from the 1940s. Next week on part 2, Matt will featuring all of Hunter's hits from the 1950s.

The Excello Records Story

Drop a nickel in the ol' Rockola Juke as Matt The Cat dedicates the entire hour to the great little Nashville R&B label, Excello Records.  Ernie Young started Excello as a sister label to his Nashboro Label and both labels were housed in his Ernie's Record Mart building in Nashville.  For a city mostly known for Country Music, Nashville sure had a lot of great R&B acts and we're going to hear some of 'em this week.  From The Marigolds to Arthur Gunter to Slim Harpo, Excello's fantastic R&B catalog is in the spotlight on the "Juke In The Back."

"Annie" Songs (Sequel Songs & Answer Records to "Work With Me Annie")

This week, the "Juke In The Back" explores the rhythm and blues phenomenon of the "Annie" song.  This is the giant wave of sequel songs and answer records that emerged after the enormous success of The Midnighters' "Work With Me Annie."  Most of the hit "Annie" follow-ups were done by The Midnighters themselves, like "Annie Had A Baby" and "Annie's Aunt Fannie," but there were some notable "Annie" songs by The El Dorados, Linda Hayes, Danny Taylor and of course the "Henry" songs by a very young Etta James.  It may sound odd now, but from 1954-56, the R&B juke boxes were jumpin' to songs about "Annie," her 15 of the best on this week's "Juke In The Back" with Matt The Cat.

The Ravens

The "Juke In The Back" features The Ravens, an R&B vocal group that set the stage for all the groups that would follow.  With Jimmy Ricks' bass lead and some tremendous harmony behind him, The Ravens were the predecessors to the doo wop music that would follow in the 1950s.  They formed in New York City in 1945 and quickly built a solid following, even before they had hits on the radio.  Their "Ol' Man River," and "Write Me A Letter" were instant smashes in 1948, but it was their non-charting "Count Every Star" that proved to be the most influential.  Music historian Billy Vera stops by the "Juke" to discuss the impact of "Count Every Star" while Matt The Cat examines the overall influence of this wonderful group.  The Ravens along with The Orioles moved vocal group singing from its gospel and Ink Spots / Mills Brothers roots into the next phase...rock n' roll.  The Ravens story and star shine bright on this week's "Juke In The Back."

Ray Charles: The 1953 Rehearsal Tapes

The "Juke In The Back" features the legendary Ray Charles 1953 rehearsal tapes.  This is Ray at his most raw as he learns some new tunes that he will soon record at his second Atlantic session.  These rehearsal tapes represent Ray at a crossroads in his early career as he begins to develop his own unique musical style.  Up to this point, Ray had been emulating his idols, Charles Brown and Nat King Cole.  Matt The Cat also shares an interview with Ahmet Ertegun, who explains how he came to sign Ray Charles to Atlantic Records in 1952.  The R&B music featured on the "Juke In The Back" directly effected the birth of rock n' roll and the course of American music history.

The Orioles

The week, the "Juke In The Back" spotlights the most influential rhythm & blues vocal group of all-time. The Orioles hailed from Baltimore and featured lead vocals by Sonny Til, one of the most talented, dynamic and recognizable voices in history. Their first record, "It's Too Soon To Know" from 1948 ignited a new vocal movement that would develop into doo wop in the rock n' roll era. Til enjoyed tremendous success until he was vocally dethroned in the early 1950s by Clyde McPhatter and the new school of R&B vocal groups. Matt The Cat is joined by Diz Russell, who became an Oriole in the mid-1950s and still leads a group of Orioles today. Russell knew Sonny Til personally and provides some prospective on these historic and influential recordings as the "Juke" focuses on the golden era of Orioles. Their biggest hit, "Crying In The Chapel" would also prove to be the group's undoing. Fly high with the "high flying Orioles" as we celebrate R&B vocal groups in their purest form on this week's "Juke In The Back."

Sun Records R&B Story: Pt. 1

This week, the "Juke In The Back" salutes the most influential and important record label of all-time, Sun Records. Sam Phillips started the legendary label in Memphis, TN in March, 1952 after successfully recording the debut sides from B.B. King, Ike Turner, Phineas Newborn and Howlin' Wolf and selling the masters to RPM Records in LA and Chess Records in Chicago. This is part one of a two part feature, leading up to Phillips' groundbreaking, pop culture shifting discovery of Elvis Presley in July, 1954. Matt The Cat examines nearly every rhythm & blues side that Sun Released during 1952 and '53 on this in-depth look into one of America's most treasured music catalogs. That little yellow label from Memphis is in the spotlight all week on the "Juke In The Back," America's showcase for 1940s and '50s Rhythm & Blues.

Early Billy Stewart

Many 1960s soul legends had their start in 1950s R&B and this week, the "JukeIn The Back" takes a listen to Billy Stewart's early records for the Chess and Okeh labels.  You can really hear Stewart's distinctive singing style develop on his early recordings with Bo Diddley's band providing the musical backing and the DC vocal group The Marquees (Marvin Gaye was a member) singing behind him.  We'll also spend a few days in jail as Matt The Cat spins a few "prison song" 78s.  There are other surprises as well, so don't miss this week's "Juke In The Back."

Bo Diddley: 1955

This week's "Juke In The Back" takes a look at the breakthrough year of one of rock n' roll's true architects and innovators, Bo Diddley. His first recording session was held at Chess Records in Chicago on March 2nd and 3rd, 1955, where he laid down 4 original tunes. One of those songs, "I'm A Man," would inspire blues great Muddy Waters' "Manish Boy," while the other, "Bo Diddley," would be the igniting spark for rock n' roll. Diddley was a complicated and compelling artist, who's talents go way beyond his signature "hambone" rhythm, his vibrato guitar and his crazy lyrics. Bo's spirit is the spirit of rebellion, the true ingredient for rock music. It all began in 1955 and this week's "Juke In The Back" will explore those roots.

Rhythm & Blues Christmas

The entire "Juke In The Back" is loaded with the greatest R&B Christmas records from the late 1940s and 1950s. It's the yuletide soul that came before rock n' roll. From the all-time classics by Clyde McPhatter & The Drifters and The Orioles to some rarer Christmas plattahs from Amos Milburn, JB Summers and The Five Keys. So grab some 'nog and get groovin'.

The Duke/Peacock Records Story

This week, the entire "Juke In The Back" is loaded with records from the catalog of Duke/Peacock Records.  Don Robey started Peacock in 1949 in order to record Clarence "Gatemouth" Brown, whom he also managed.  In 1953, Robey took over Duke Records (which was owned by David J. Mattis and Bill Fitzgerald) and a R&B empire was born.  Matt The Cat shares the history and music, which features some of the greatest R&B talents of all-time, including: Bobby "Blue" Bland, Johnny Ace, Clarence "Gatemouth" Brown, Big Mama Thornton, Junior Parker and more.

Johnny Otis

This week, the "Juke In The Back" is proud to honor the late, great Johnny
Otis, who passed away at the age of 90 on January 17, 2012.  Johnny Otis was
a true renaissance man.  He was a singer, songwriter, drummer, bandleader,
talent scout, record label owner and radio / TV show host and that's not
everything he did.  He was the son of Greek immigrants, growing up in a
mostly Black section of Vallejo, CA during the 1920s and '30s.  He not only
absorbed Black Culture, he became a part of it, changing his last name to
Otis in order to sound more Black.  He went from playing drums at the Club
Alabam on Central Ave. in LA to opening his own Barrelhouse Club in Watts in
1947, creating a scene of his own.  His first records were made just as the
big bands were dying off and the jump combos were rising.  Johnny Otis did
not interpret rhythm and blues, Johnny Otis WAS rhythm & blues.  From his
first recordings for Leon Rene's Excelsior Label in 1945 to his commercial
breakthrough in 1949-50 for Herman Lubinsky's Savoy Label to his great rock
n' roll success with "Willie And The Hand Jive" for Capitol in 1958, Johnny
Otis did more than almost anyone to push Black Music into the mainstream,
creating rock n' roll.  "Juke In The Back" highlights the early part of
Otis' amazing career from 1945-1958.  It's not an overstatement to say that
the music we enjoy today is here because of what Johnny Otis recorded,
played and produced in the late 1940s and early 1950s.  This "Juke" is truly
The Johnny Otis Show.

T-Bone Walker

Drop a nickel in the ol' Rockola Juke to hear one of the best selling and most influential bluesmen and guitarists of all-time, T-Bone Walker. This week's show looks at how T-Bone's immense guitar talent developed from his first recordings in the early 1940s to his breakthrough after WWII with the now classic, "Call It Stormy Monday (But Tuesday's Just As Bad)" for Black & White Records. We'll also get a taste of T-Bone's work for the Cornet, Imperial and Atlantic labels. B. B. King, Ray Charles and Chuck Berry have all cited T-Bone Walker as a heavy influence. Find out why on this week's "Juke In The Back" with Matt The Cat.

1952: Jukebox Rhythm Review Pt. 2

This week, the jukebox is in the spotlight as Matt The Cat takes you back 60 years and highlights the top jukebox hits of the second half of 1952. You’ll hear a lot more than just the big #1 R&B hits this week as we dig deep into the jukebox lists to feature seldom heard tunes by Illinois Jacquet, Varetta Dillard and Sonny Thompson with Lula Reed. These are the top requested records that were spinning on the jukebox in the back of the establishment. It’s part 2 of 2 on the 1952 Rhythm Review on the “Juke In The Back.”

Chuck Willis Pt. 2

"Juke" completes its 2 part special on the great Chuck Willis.  This week, in part 2, we focus on Chuck's amazing crossover success in the late 1950s with huge pop hits like "C. C. Rider," "Betty And Dupree," "What Am I Livin' For" and "Hang Up My Rock n' Roll Shoes."  Willis' career ended with him on top after his tragic death in 1958 at the age of 30.  Chuck Willis is one of the many underrated 1950s R&B performers.  Pop audiences only remember him for a handful of tunes, yet he was extremely popular on the R&B-side of the 1950s.  Each week, the "Juke In The Back" with Matt The Cat brings the music and stories of this oft forgotten part of American Music.

Chuck Berry: His First Year

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. In this week's "Juke In The Back," 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. Hear Berry's beginnings on this week's "Juke In The Back."

Big Jay McNeely

The juke is jumpin' this week with some of the wildest, craziest and most gloriously blistering honking sax records of all-time by the master, Big Jay McNeely. Not only will Matt The Cat spin Big Jay's greatest sides, but he'll also be talking to the man behind the sax as Big Jay tells his own story in his own words. From the shuffle fire of "Deacon's Hop," a number one R&B smash from 1949 to the crazed "3-D," "Mule Milk" and "The Goof," Jay's best instrumentals will be highlighted. McNeely was also successful with a few vocal records like the pop crossover success of 1959's "There Is Something On Your Mind" with Little Sonny on vocals and his early '50s singles with his vocal group, Three Dots And A Dash, which included a very young Jesse Belvin and Mercy Dee. Don't miss Matt The Cat's interview with Big Jay McNeely and the birth of rock n' roll on this week's "Juke In the Back.".

Eddie "Cleanhead" Vinson

This week, the "Juke In The Back" honors one of the greatest blues shouters of all-time, Eddie "Cleanhead" Vinson.  He burst on the scene in 1944 with a cover of the Joe Turner classic, "Cherry Red Blues" as the vocalist for the Cootie Williams Orchestra.  He remained with Cootie Williams until 1945, when Vinson cut out and formed his own orchestra.  He signed with Mercury and scored the biggest hit of his career in 1947 with "Old Maid Boogie" and "Kidney Stew Blues."  He entered that R&B charts one more time in 1949 with the sequel to "Cherry Red Blues" with "Somebody Done Stole My Cherry Red."  For those in the know, Eddie "Cleanhead" Vinson is an R&B, jazz and blues shoutin' treasure, but for those who missed the boat, he's forgotten.  Join Matt The Cat as we remember one of the all-time greats on the "Juke In The Back."

The Spiders

New Orleans is not known for its R&B vocal groups.  In a city where jazz, blues and zydeco thrive, one vocal group rose to the top: The Spiders.  In two short years, the Spiders landed enduring hits like "I Didn't Want To Do It," "I'm Slippin' In" and "Witchcraft," led by brothers Chuck and Chick Carbo.  They were produced by the legendary Dave Bartholomew and recorded at Cosimo Matassa's J&M Studios with the cream of New Orleans' session musicians.  When the hits stopped coming, Chuck Carbo left the group for a solo career, thus ending their time in the spotlight.  Matt The Cat explores The Spiders' story on this week's "Juke In The Back."

Specialty Records Pt. 2

This week, the "Juke In The Back" is jumpin' with records all hailing from the Specialty Label out of LA on part 2 of The Specialty Records Story.  Matt The Cat digs up some gems from Specialty's golden period of 1950-53 from Roy Milton & His Solid Senders, Lloyd Price, Jesse & Marvin, Percy Mayfield and gospel group, The Swan Silvertones.  Lloyd Price even drops by the "Juke" to tell us how he first met Specialty owner Art Rupe and how "Lawdy Miss Clawdy" came to be recorded.  Matt The Cat wraps up his series on Specialty Records next week, so dig it while the diggin's good. 

Sam Cooke

The "Juke In The Back" features a full hour of Sam Cooke, one of the distinctive and expressive voices ever pressed in wax. Cooke's early period singing gospel with the renowned Soul Stirrers is often cited, but hardly ever featured. Matt The Cat focuses on Sam Cooke's early days from 1951 to 1957, begriming with his recordings with the Soul Stirrers up through his R&B and pop breakthrough of 1957. Matt is joined by author Peter Guralnick, who wrote the definitive biography on Cooke called "Dream Boogie: The Triumph Of Sam Cooke," filling in the background on one of the 20th Century's most revered singers. Cooke was also a noted songwriter, producer and entrepreneur, starting his own SAR Records in the late 1950s. Few African-American artists went further during the 1950s while jamming the juke boxes with tremendous gospel, R&B and pop hits. Hear the man who invented soul, this week on the "Juke In The Back."

The Aladdin Records Story: Part 1

The "Juke In The Back" begins a two 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. 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."

4th Of July Special on R&B Songs About Food

What’s more American than celebrating America’s birthday with some good ol’ red, white and Rhythm & Blues about THE Fourth of July staple: food? Dig in on an hour of classic R&B about hot dogs, cole slaw, potato salad, ribs and ice cream sung by the heroes of the “soul that came before rock n’ roll” on the Juke In The Back.

Roy Brown

Roy Brown was one of early R&B's undisputed blues shouters. He burst on the scene in 1947 with the original recording of "Good Rockin' Tonight," which would become a rock n' roll and blues classic when covered by Wynonie Harris, Elvis Presley and countless others. He managed to chart 16 R&B hits from 1947-1957, most of them in the late '40s and early '50s. Many of these songs never get played on the radio anymore, but this week's "Juke In The Back" with Matt The Cat will set the record straight as we spin every charting hit of Roy Brown's career. We'll dig on Brown's jump blues, his ballads and his late career New Orleans comeback. So get down to the sound of Good Rockin' Roy Brown on this week's "Juke In The Back," the "soul that came BEFORE rock n' roll!"

The Du-Droppers

Matt The Cat presents another highly underrated R&B vocal group from the 1950s: The Du-Droppers. They didn't sound like the stereotypical "doo wop" groups of the era and they weren't your standard rhythm group either. The Du-Droppers had a sound that was all their own. Their leader, JC Ginyard began his career in Gospel groups and you can really hear that influence on the Du-Droppers' best material. The group's first single for Bobby Robinson's Red Robin label was a sequa record to the Dominoes' smash, "Sixty Minute Man," called "Can't Do Sixty No More." Once they signed with RCA Victor, they scored two of the biggest smashes of 1953. Dig the sound and get the story behind the Du-Droppers, this week on the "Juke In The Back," the "soul that came BEFORE rock n' roll."

Elvis' R&B Influences

Much has been written about Elvis' enormous impact and popularity over the years, but it's almost impossible to overstate the cultural shift that took place as he rose to fame in 1956. Elvis was a musical sponge. He absorbed all the music that moved him and those around him, from Country and Hillbilly to Gospel, Pop, R&B and Blues. This week's "Juke In The Back" focuses solely on the rhythm & blues that motivated Elvis' early career. During the end of his first session with Sam Phillips, Elvis cut into an inspired rendition of a semi-forgotten Arthur Crudup gem and rock n' roll was literally born. From the New Orleans R&B of Smiley Lewis, to the jump blues of Wynonie Harris, Elvis dug it all and made each song uniquely his own. He wasn't copying his R&B idols, he was merely using their material as a springboard for his own blend of the White and the Black. Sam Phillips was right when he said that it would take a White cat with an African-American feel to propel this exciting R&B music into the mainstream and lucky for us, he found that in Elvis Presley. Matt The Cat presents many surprises in this week's "Juke In The Back," dedicated to Elvis' strongest musical influence: Rhythm & Blues.

Parrot Records

The entire "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 and smooth vocal group sounds from Willie Mabon and J.B. Lenoir to The Flamingos and the 5 Thrills.  Matt The Cat highlights both the hits and misses and bring you the story behind the story on this often forgotten R&B label on this week's "Juke In The Back."

The Chords

This week's "Juke In The Back" digs deep into a group that is usually only remembered for one, incredibly influential tune, "Sh-Boom."  The Chords cut that tune in 1954, right at the height of America's fear of the Atomic Bomb and this song did more for helping to launch rock n' roll than almost any other.  In fact, the tittle "Sh-Boom" was meant to simulate the sound of an A-Bomb explosion.  Even though their label didn't believe in "Sh-Boom," they just couldn't stop it, but unfortunately, they didn't do much to promote The Chords subsequent releases.  They were forced to change their name to The Chordcats, due to a lawsuit and then dropped that name in favor of The Sh-Booms.   Matt The Cat digs up the story behind the story of The Chords and their great recordings on this episode of the "Juke In The Back."

1951: Jukebox Rhythm Review

Part 2

This week, the jukebox is in the spotlight as Matt The Cat takes you back 61 years and highlights the top jukebox hits of the second half of 1951. You'll hear a lot more than just the big #1 R&B hits this week as we dig deep into the jukebox lists to feature seldom heard tunes by Johnny Hodges, Dinah Washington and Jimmy Nelson. These are the top requested records that were spinning on the jukebox in the back of the establishment. It's part 2 of 2 on the 1951 Rhythm Review on the "Juke In The Back."

Marvin Phillips

Marvin Phillips is important to post WWII rhythm & blues, because he, along with Jesse Belvin helped to popularize the R&B duo. Jesse and Marvin scored an enormous hit in 1952 with the ballad, "Dream Girl," thus paving the way for future R&B duos like Shirley & Lee, Gene & Eunice, Robert & Johnny, Don & Dewey and Marvin's own, Marvin & Johnny. This week's "Juke In The Back" takes a look at Marvin Phillips' impressive career, from his first record in 1950, singing lead with Richard Lewis & The Barons to Marvin & Johnny's short stint on Aladdin Records in 1957. Along the way, Jesse Belvin weaves in and out of Marvin's singing career and a diverse array of records are recorded. Matt The Cat spotlights this oft unsung hero of Los Angeles R&B, Marvin Phillips, on this week's "Juke In The Back."

Little Esther

Esther Mae Jones is one of the First Ladies of R&B, yet her 1950s output under the name Little Esther is sadly overlooked. Little Esther was discovered by bandleader Johnny Otis in 1949, when she was only 14 years old. Otis immediately added her to his musical ensemble. He had scored a few hits before, but nothing could have prepared Otis for his HUGE 1950 breakthrough record, "Double Crossing Blues," featuring Little Esther and The Robins. Otis and his group dominated the R&B lists in 1950, scoring three #1 hit records and six R&B top tens, all featuring Little Esther. This week, Matt The Cat examines Little Esther's records with Otis as well as her duets with The Dominoes, Bobby Nunn, Little Willie Littlefield and her many solo sides for the Federal and Savoy labels. Esther Jones would gain much recognition as Esther Phillips in the 1960s and '70s, but as a teen in the 1950s, Little Esther laid the groundwork for musical genius. The spotlight shines bright on Little Esther, this week on the "Juke In The Back." This is the "soul that came BEFORE rock n' roll."

Wynonie Harris, Pt. 1

The "Juke In The Back" is overflowin' with records by one of R&B's greatest blues shouters and entertainers: Wynonie "Mr. Blues" Harris. Part 1 of this 2 part series focuses on Wynonie's early recordings from 1944-1948. Matt The Cat digs deep in his "juke" archives to pull out many of Harris' early records that often get ignored. We'll dig on Harris' first 2 singles with the Lucky Millinder Orchestra and cover his releases with Philo, Apollo, Aladdin and King. Three versions of the early rock n' roll anthem, "Good Rockin' Tonight" will also be examined. So get ready to shout "Hoy! Hoy!" as Mr. Blues is coming to town on this week's "Juke In The Back" with Matt The Cat.

The Penguins

The Penguins' "Earth Angel" was the first rhythm & blues song to crossover into the pop world in such a big way that it announced the beginning of what was to be called "rock n' roll." 

"Earth Angel" remains one of the most eduring songs in the history of recorded music and yet when it was released in late 1954, it received very little promotion from the record company.  It's a rare example of a song that became a huge hit based on its own merits.  The Penguins' lead vocalist, Cleve Duncan, who passed away on November 6, 2012 while waiting in line to vote, talks with Matt The Cat about The Penguins' beginnings, "Earth Angel" and the 1950s music scene.  Cleve Duncan tells the Penguins' story in his own words, while Matt The Cat digs deep into the archives to pull out some surprises, like both of the Penguins' live performances from a 1956 Alan Freed show.  Grab a few nickels, as we pay tribute to one of LA's great vocal groups while the juke jumps with the best of The Penguins.

Pee Wee Crayton

The "Juke In The Back" honors one of the greatest, yet more underrated originators of electric blues guitar: Pee Wee Crayton.  Matt The Cat digs deep into Crayton's musical catalog and dusts off more than just his three charting R&B hits.  You'll also get to hear the fantastic and inspired recordings he cut in New Orleans with bandleader Dave Bartholomew as well as his Vee-Jay Records sides.  Pee Wee Crayton's story comes to life through his music on this week's "Juke In The Back."

The (original) Diamonds & R&B Songs About Detroit


The "Juke In The Back" takes a look at one of New York's greatest, but almost unheard of R&B vocal groups: The Diamonds.  They only got 3 singles released by Atlantic Records during 1952 and '53 and would fade into history by 1955, but their harmonies are second to none.  "Sonny" Wright's lead baritone remains much admired as does Myles Hardy's tenor.  Hear all six of the Diamond's known songs this week.  Plus, Matt The Cat also features R&B songs about Detroit with Blind Blake, Tampa Red, John Lee Hooker and Fats Domino weighing in on the Motor City and Hastings Street, the cultural center of African-American life during the 20s to the 60s.

Christmas Leftovers & New Year's Resolutions

Matt The Cat has dug up some more R&B Christmas treasures and added a few tunes about New Years for this week’s continuation of the “Juke In The Back” R&B Christmas Special. The holiday juke is jumpin’ with cool tunes by Big John Greer, Champion Jack Dupree, Lowell Fulson, The Moonglows, Marvin & Johnny and many more. The range of topics is wide, from dancing Santas to lonely Christmases to making up with your baby on New Year’s Eve. So get hungry for some Christmas leftovers and plan your New Year’s resolutions this week with Matt The Cat on the “Juke In The Back.”

1953: Jukebox Rhythm Review Pt. 1

This week, the jukebox is in the spotlight as Matt The Cat takes you back 60 years and highlights the top jukebox hits of the first half of 1953. You’ll hear a lot more than just the big #1 R&B hits this week as we dig deep into the jukebox lists to feature seldom heard tunes by Johnny Moore's Three Blazers, The Emitt Slay Trio and King Pleasure. The juke will also be jumpin' with top tunes from The "5" Royales, Ruth Brown and Fats Domino. These are the top requested records that were spinning on the jukebox in the back of the establishment. It’s part 1 of 2 on the 1953 Rhythm Review on the “Juke In The Back.”

Johnny Moore's Three Blazers

This week's "Juke In The Back" is dedicated to one of the true unsung heroes of 1940s and '50s rhythm & blues, Johnny Moore's Three Blazers. The group is mostly remembered as the springboard for vocalist/pianist Charles Brown and today they are generally only recognized for their 1946 smash, "Driftin' Blues." However, back in the late 1940s, The Three Blazers scored R&B hit after hit. Between Johnny Moore's influential guitar licks and Charles Brown's tasty piano, The Three Blazers were at the top of their genre. However, their sound fell out of favor as soon as the blues shouters and jump blues combos took over, setting the stage for the coming rock n' roll explosion. Their first records were made for the tiny Atlas label in 1944 and featured an uncredited Frankie Laine on vocals. They then backed up Ivory Joe Hunter in 1945, before Johnny Moore's Three Blazers hit the bigtime in 1946. Matt The Cat will cover Johnny Moore's years with Charles Brown as well as those following Brown's departure. This week's "Juke In The Back" is the definitive look at Johnny Moore's Three Blazers, vintage R&B icons.

The Clovers Pt. 2 (1953-56)

The Clovers were the most successful rhythm & blues vocal group from 1951 to 1955, racking up 16 top 10 R&B singles during that time-frame. Three of those singles went to #1. Though they didn't have a huge career defining hit, like The Dominoes did with "Sixty Minute Man," The Clovers claim to fame was consistency. You always knew what you were going to get with a Clovers record. Most of their songs were mid-tempo with tight, limited instrumentation, beautifully blended harmonies and catchy, memorable lyrics. This week, "Juke In The Back" presents part 2 of a 3 part feature on this ground-breaking pre-rock n' roll group. In part 2, we'll cover EVERY Clovers' release (both A and B sides) from mid-1953 to the beginning of 1956. During this time, lead vocalist Buddy Bailey was drafted, so Charlie White, formally of the Dominoes and The Checkers was brought in to sing on "Good Lovin'," which hit #2 on the R&B charts as well as the classic "Lovey Dovey." When things didn't work out with White, the group hired Billy Mitchell, who lends his versatile voice to "Your Cash Ain't Nothin' But Trash" and "In The Morning Time," until Buddy Bailey was discharged and could return to lead the group. It's part 2 of 3 on the amazing Clovers, this week on the "Juke In The Back."

Billy "The Kid" Emerson

The "Juke In The Back" with Matt The Cat features Billy "The Kid" Emerson, a talented R&B singer and songwriter who never had a hit record, but his songs were covered by the likes of Elvis Presley and Billy Riley.  Originally from Tarpon Springs, FL, Billy Emerson burst on the scene in 1954, with the help of friend Ike Turner.  He released a string of stellar R&B records for Sun, before moving on to Vee-Jay, Chess and many others.  Elvis recorded Emerson's very soulful, "When It Rains It Pours" and Billy Riley made Emerson's "Red Hot" a rockabilly standard.  Billy "The Kid" Emerson's story and music is the feature of this week's "Juke In The Back."

Cobra Records

Cobra Records left quite a bite, even thought this little West Side Chicago label was only in existence for three short years. Cobra was started by television repair shop owner Eli Toscano in the summer of 1956. Toscano was lucky enough to snag Willie Dixon from Chess Records to write, produce and scout talent for his new label. They hit gold right out of the gate, when Cobra's first release, "I Can't Quit You Baby" by Otis Rush went to #6 on the national R&B charts. Cobra would not score another hit record, but they are credited with popularizing the West Side blues style of their young artists; Otis Rush, Magic Sam and Buddy Guy. In fact, Magic Sam's "All You Love" and Otis Rush's "Double Trouble" are considered bonafied blues classics today. Betty Everett recorded her first sides for Cobra and Ike Turner recorded some of his last before forming Ike & Tina Turner. So get ready to fall under the spell of Cobra Records as Matt The Cat spins this little label's best sides on this week's "Juke In The Back."