The Old Dingy Jukebox features a wide variety of down home American music styles played from a diverse collection of 78 rpm and 45 rpm records. Each show takes the listener on an aural journey exploring the American musical heritage. The show’s repertoire is deep and wide with an emphasis on early to middle 20th century Americana. Styles played on the show include the blues, jazz, old time string bands, traditional folk music, honky tonk, bluegrass and early country music. Informative, yet entertaining, the show’s host, Christian Gallo, includes brief historical tidbits and anecdotes that accompany a selection of often rare or obscure recordings. Sit back and have a listen. Hope you enjoy the show
Today's episode features some great 78rpm records from the collection of David Bragger. Traditional fiddler and banjoist David Bragger has become a ubiquitous figure in traditional American folk music. He is a musician, documentarian, UCLA ensemble director, artistic director of the Santa Barbara Old-Time Fiddlers’ Festival and co-founder of the independent folk label Tiki Parlour Recordings. Having learned the “old-time” art of fiddling directly from two generations of traditional masters, David has been passing down these archaic musical secrets and sounds to university students, violinists and fiddlers worldwide.
David has produced over twenty CDs and DVDs for his label and has curated two 78rpm box set compilations (Texas & Mississippi Hillbillies) for JSP Records with 78 guru Chris King. In his spare time, he loves to set stylus to waxen groove for his nightly listening “seances” at the Old-Time Tiki Parlour.
Entry of the Gladiators - Ringling Brothers and Barnum & Bailey’s Circus Band G Rag - Earl Johnson & His Clodhoppers Get ‘Em from the Peanut Man - Lil Johnson Coal Creek March - Marion Underwood Alpine Milkman Yodel - Britt Brothers Forty Drops - Andrew & Jim Baxter Whiskey and Gin Blues - South Street Trio Georgia Swing - Jelly Roll Morton Pretty Polly - B.F. Shelton Patty on the Turnpike - Fiddlin' Powers & Family Gimme a Pig Foot and a Bottle of Beer - Bessie Smith Ragtime Annie - Solomon & Hughes Gator Wobble - Memphis Jug Band Bacon and Cabbage - Blind Joe Mangrum and Fred Shriver What's That Smells Like Fish - Blind Boy Fuller Beaver Slide Rag - Peg Leg Howell & Eddie Anthony I'm Gonna Get High - Tampa Red & The Chicago Five
Welcome to the old dingy jukebox, a show dedicated to celebrating the rich canon of down-home American music styles presented to you from my record collection of mostly, but not exclusively, 78 RPM records. I'm your host, Christian Gallo, and thanks for tuning in. If you haven't already, please subscribe to the show at Apple Podcasts, Spotify, or wherever you may access your podcasts. You can also rate the show and leave a review at Apple Podcasts. And if you enjoy the show, hit that share button. I'd appreciate it. So today I have a special show plan that I think you're going to really enjoy. I am honored to have a guest joining the old dingy jutebox for this episode. My guest for today's episode is the one and only David Bragger. Traditional fiddler and banjoist, David Bragger has become a ubiquitous figure in traditional American folk music. He is a musician, documentarian, UCLA ensemble director, artistic director of the Santa Barbara Old Time Fiddlers Festival, and co-founder of the independent folk label Tiki Parlor Recordings. Having learned the old-time art of fiddling directly from two generations of traditional masters, David has been passing down these archaic musical secrets and sounds to university students, violinists, and fiddlers worldwide. He has produced over 20 CDs and DVDs for his label and has curated two 78 RPM box set compilations, Texas and Mississippi Hillbillies, for JSP Records with 78 guru Chris King. I've known of David for years through his association with the Santa Barbara Old Time Fiddlers Convention and his powerhouse string band, Sausage Grinder. I've also been a fan of the recordings he puts out on his record label, Tiki Parlor Recordings. It is here that he's recorded an album of traditional fiddle and banjo music with the great fiddler Rafe Stefanini titled Holy Smoke. He's also recorded, along with Susan Platt's, a beautiful record of solo old-time fiddle duets titled Kings Lament. Truly a beautiful record. You need to check that out. Go check out his website, oldtimetikiparlor.com. On top of all this, he also has an enviable collection of great 78s that I asked him to share with us for this episode. I've always appreciated and admired his sense of humor and his style. I think you're gonna find this an entertaining set. So without further ado, I'm gonna hand off the show to the one and only David Bragger.
SPEAKER_00
Thank you, Kristen. My name is David Brager, coming to you from the old time tiki parlor in Los Angeles. This is my special place where I run my record label, teach traditional American fiddle and banjo, film and record many of today's traditional masters, and where I hold my seance of shell, where we listen to my collection of rare, unusual, and classic 78 RPM records. Today's episode, Pig Feet, Yodels, Moonshine, and Circus Fires! Barnum and Bailey's Circus Band performing Entry of the Gladiators from the recording on the Victor label with Frederick Mullen featured on Calliope. The band leader, Merle Evans, conducted the Ringling Brothers and Barnum and Bailey Circus Band for 50 years. He was known as the Toscanini of the Big Top. A little-known fact on July 6, 1944, a horrendous fire broke out during a Ringling Brothers circus performance. The relentless fire consumed around 170 souls. It's known as the Hartford Circus Fire. Merle Evans and his band are credited with saving thousands of lives on that fateful day. When Evans observed the fire, he signaled the band to play Stars and Stripes Forever, which was used in the circus as the disaster march. Circus clowns, trapeze artists, animal tamers, and the rest of the circus's menagerie of performers immediately began the evacuation after hearing the band's musical call for emergency. Apparently, Evans and his band played until they were truly in danger, and then regrouped outside, where their playing helped to calm the crowd. An even lesser known fact, the great actor and match game panelist Charles Nelson Riley was there when he was 13 years old. He obviously survived the Inferno's fiery rage. Next up, Earl Johnson and his clodhoppers playing G-Rag. Earl Johnson was born Robert Earl Johnson on August 24th, 1886. He was a fixture at the Georgia Old Time Hiddler's Convention, which grew thousands every year, along with many other Georgia Old Time greats. A.A. Gray, Kid Tanner, Riley Puckett, Losa Stokes, Fiddlin John Carson, Clayton McMitchin, all of whom went on to become nationally known radio and recording artists. In fact, Earl formed his own band after winning a first prize at the Georgia Old Time Fiddlers Convention in 1926, apparently tired of playing the second fiddle in the shadow of Fiddlin' John Carson. Earl played the wild and animated style of fiddle music that typified the Atlanta string band sound. Like Fiddlin John and Guitanner, Earl Johnson became a fiddler on WSB as early as 1922, the first year they broadcast. As a musician dad who's raising two young daughters, hi Maya, hi Leela. I feel it's important to surround them with music, and I have since they were born. This is a recording that I pipe into their bedrooms every night through our intercom system so they can soak up the infectious sounds of Georgia Fiddler Earl Johnson. It's called Get Em From the Peanut Man Hot Nuts. Lil Johnson, not to be confused with Little Johnson, was a female African-American blues singer who recorded dirty blues and hokeum songs in the 20s and 30s. Her origins and early life are not known. She first recorded in Chicago in 1929. She didn't return to the recording studio until 1935. She recorded her more risque songs, like the one we're about here, as well as the lovely song on the other side of this record. Press my button and ring my bell, which features poetry like this. Come on, baby, let's have some fun. Just put your hot dog in my blood. Her version of Anakin later became a hit for little Richard. In 1936 and 37, she recorded over 40 songs, some which feature Big Bill Brunsey on the guitar. In November 1936, Johnson recorded a new Shave and the Dry. By the way, if you haven't heard of Seal Bogan's recording of Shave and Dry, the alternate take in particular, you might actually pass out when you listen to it. Not suitable for work is a grand understatement of that recording. Remember, I warned you. On a much of a hammer note, some of Lil Johnson's other songs include titles like My Stove's in Good Condition, Take Your Hand Off It, and Buck Naked Blues. Her recording career ended in 1937, and we don't know exactly what happened to her afterwards. She's a bit of a mystery.
SPEAKER_06
Anybody you wanna buy my nuts, Delly Nut. Hot nuts, I've got nuts for sale, selling one for five, two for ten. If you buy 'em once, you'll buy 'em again, Sally Nut. Hot nuts, buy 'em from the peanut man. Nut, hot nuts. Anybody here wanna buy my nuts, Dally nuts. Hot nuts, I've got nuts for sale. They tell me your nuts is mighty fine, but I bet your nut isn't hard as mine, Dolly Nut. Hot nuts, you buying from the peanut man. Dolly nuts, hard nuts. Anybody here wanna buy my nuts, Dolly Nut. Hot nuts, I've got nuts for them. And they tell me your nuts is mighty small. Best to have small nuts, then no nuts at all, selling nuts. I've nuts, you find from the peanut, man. Look what you can get, cheap. Only five clips, boys. Ice and brown too. Everybody crazy got my nuts. Delly nuts, hot nuts. Anybody here wanna buy my nuts, belly nut. Hot nuts, I've got nuts to sell. Now you see that mane all dressed in brown. Me's got the hottest nuts in town, selling nut. Hot nuts, you buy him from the peanut man. Nut, hot nut. Anybody ever wanna buy my nut, belly nut. I've got nuts to sell. When a hog get hungry, he starts to grunt. When a man get hungry, he starts to hunt for nuts. Fine from the bean nut man, I say, Fine from the bean nut man.
SPEAKER_00
Next up is Cole Creek March from the playing of Marion Underwood. Marion Underwood is credited on this super tone record as Floyd Russell. The other side of this record is Home Sweet Home by the legendary Frank Jenkins. Marion Underwood played banjo in Taylor's Kentucky Boys. Aside from being a phenomenal string band, they are of great historical and cultural significance. Taylor's Kentucky Boys released seven record sides with the hugely influential black riddler Jim Booker. Doc Roberts recorded on some of their recordings as well. Music scholar Charles Wolfe said that Underwood's Coal Creek March remains one of the finest examples of mountain finger style banjo picking. I'll let you be the judge. Elton Britt was born James Eltonbaker on June 27, 1913, in Zach, Arkansas. This particular record features double yodeling. The Harmony Yodeler is thought to be his brother Vernon Baker. Britt recorded over 600 lives and 60 albums. This song was recorded on August 8th, 1933. His song Uranium Fever is featured in the 2015 video game Fallout 4 on the in-game radio. We are surrounded by old-time music everywhere, even on the PlayStation 4. You just need to keep your ears on the lookout for it.
SPEAKER_10
We really play the ladies with the your lady your ladies your lady And with him there's no babies with the your ladies your ladies your ladies your ladies your legal ladies every time he meet the father He gets around Takes around to dinner and he always pays the bell with me your tea Yolady Yoland Yolady Lady I love this next tune.
SPEAKER_00
It's called Forty Drops from Andrew and Jim Baxter. The fiddle and guitar playing both are just top-notch. Andrew and Jim Baxter were an African American father and son duo from Gordon County, Georgia, recorded in the late 20s. They released 11 sides together. Andrew Baxter, born in 1869, died in 1955. He played the fiddle, and his son Jim, born in 1898 and died in 1950, sang and played the guitar. The Georgia Yellow Hammers and the Baxters traveled to Charlotte, North Carolina to record for Victor in the summer of 1927. Due to the draconian Jim Crow laws, the Baxters had to ride a few cars behind the Yellow Hammers on this significant musical journey. Once in Charlotte, the Baxters and the Yellow Hammers recorded their own separate sessions, with one noteworthy exception, G-Rag. The Yellow Hammers asked Andrew to play fiddle for the side, and history was made. It is widely believed that G-Rag is one of the earliest integrated recordings in the history of Georgia music. It is also the same tune as the Earl Johnson version we just heard earlier, without the maniacal laughter. Among their recordings is Horty Drops, a tribute to Georgia Moonshine. It's a mesmerizing instrumental with brief bursts of vocal commentary, which was commonplace in many early string band recordings. Bobby Leacen on the banjo and Robert Cooksie on Harmonica and Vocals are joined here by Alfred Martin on guitar. This phenomenally mesmerizing blues tune showcases the beautiful and whimsical interplay between Leacen's banjo and Cooksie's Harmonica. You'll also hear Cooksie sing about drinking whiskey and Tom Cat Gin and doing the old mess around. In Leacen and Cooksie's earlier band incarnation, The Jazzing 3, the two musicians, along with their guitar player, Lonnie Van Story, were heading home in Harlem when they were fired on by a sniper. Cooksie wasn't hurt, but Lincoln was shot in the back, but a button on his waistcoat apparently deflected the bullet. Van Story, however, was fatally shot through the heart. When is it not dangerous to walk home while being black? Sadly, some things never seem to change.
SPEAKER_04
Gonna mess around, tell her both break in. When you see two women, roaring hand in hand. When you see two women, going in hand, you can bet your bottom gala. One more the other one, man.
SPEAKER_00
He was a ragtime and jazz piano player, band leader, and composer. He is credited as jazz's first great arranger. He was born into a Creole community in New Orleans right around 1890. He was a mix of African, Spanish, and French. He later adopted his stepfather's name, Morton. At the age of 10, he learned to play the piano. By 14, Morton began working as a piano player in a brothel. He used the catchy and colorful nickname Jelly Roll, which was a slang for female genitals. He was living with his religious great-grandmother while performing at the bordello. He even convinced her that he worked in a barrel factory as a night watchman. When she found out that he was playing jazz in a house of ill repute, she disowned him for disgracing the family name. In 1915, he published Jelly Roll Blues, which was one of the first jazz compositions to be published. Morton also wrote masterpieces such as Black Bottoms of Don and Kansas City Stomp. In addition to his earlier recordings, Alan Lomax recorded him for Library of Congress in 1938, telling the stories and playing the saucy songs of the time, including a blush worthy rendition of The Dirty Dozen. You'll have to look that one up privately, since this is a family show. It's B.F. Shelton's Pretty Polly and Darling Horace. Benjamin Frank Shelton, born 1902, was an American singer and angerist who recorded a number of songs for Baker Records at the Berthold Legend in Brazil Kennedy on July 29th, 1927. Shelton was born in Clay County, Kentucky, and died in Willie County, Kentucky. It has been recorded by a hell of old Iron Legends, including Doc Boggs, Peter Steel, Louise Hexton, Hobart Smith, Bill Cornett, and one of my favorites, E. C. Ball.
SPEAKER_05
Freddy, folly, Freddy, folly, would you think it on time? Freddy, Folly, pretty folly, would you think it on time? You went into my mind. I corded, pretty folly, one little night. Accorded, pretty folly, one little night. A little old hill to the valid A little hill to the bell little deep. At last, Freddy Polly beginning to wing Come on, Freddy Polly, and go along with me. Come on, Freddy Polly, and go along with me before we get married. Some pleasure to see Oh willy, sweet, willy, I fear from your way Oh willy, sweet, really, I fear from your way The way you are rounding is leading me a free She went up before she walked, she could find She went up before she walked, she could find A new dream and line by no time to study, no time and to stand Had no time to study, no time at a stand He filled with a map blue only Pretty Polly, pretty Polly, you guys in just rhyme Pretty Polly, pretty pony, you guessing just fry the double ring, big home out of the last night She threw her around in a further She threw her arm round in a thought, no tear How can you kill a girl in the dear Sheep her to the heart, her heart bloody dip on She thunder to the heart, her heart bloody dip on him through the grape pretty ball and it dawn Oh well if we really turn loose on my hand Will it we'll let him loose on my hand You see my heart was putting around where you stand He threw some bird over her and turned to go home He threw some bird over her and turned to go home Leave nothing behind him but bird is home The gentleman ladies I bid you farewell Gentlemen ladies I bid you farewell for killing Fred Polly is in my fold to hell Our next tune is a version of Patty on the Turnpike from Fiddlin Powers and Family.
SPEAKER_00
Fiddlin Cohen Powers and his family band, made up of he and his children, were the first family screen band to make a commercial record. They were also one of the first screen bands to use ukulele. Not a surprise since there was a ukulele craze in the twenties. They recorded less than twenty sides that were actually issued. Hattie on the Turnpike was one of the first seventy-eight records that I picked up. I think I might have picked it up from Frank Fairfield. It was recorded for Victor on August nineteenth, nineteen twenty-four. It is a great representation of a loopy, repetitive, crooked, swirling fiddle tune. I treasure fiddle music like this. Now we have Gimme a Pigfoot and a Bottle of Beer from the Empress of the Blues herself, Bessie Smith. Bessie Smith recorded a hundred and sixty sides between 1923 and 1933. She was the most popular female blues singer of the 1920s and 30s. Working tirelessly at her theater schedule and performing endless attendance shows, Smith became the highest paid black entertainer of her day. She even traveled in her own 72-foot-long railroad car. She married a security guard in 1923. Apparently, it was a rocky marriage full of infidelities on both sides. Her show business life and numerous female love partners were difficult for him to accept. And then his affair with Gertrude Saunders led to Bessie ending the relationship. Songs like Jail House Blues, Work House Blues, Prison Blues, and Sending to the Electric Chair dealt with contemporary social problems such as chain gangs, the prison labor system, and capital punishment. Much of her repertoire is considered by academics to be an early form of black protest music. She was one of the great female blues voices that represented the African American working class.
SPEAKER_07
No, no, I wouldn't pay 25 cents to go in nowhere. Cause listen here, up in Harlem every Saturday night, when the eyebrows get together, just too tight, the old Congo keeps at an all night's trust. And what they do is tut-tu-ta Oh Hannah Brown from Crowtown. Get full of corn and start breaking them down. Just at the break of day, you can yell and say, Give me a big foot and a bottle of beer. Send me cake. I don't care. I feel just like a for the cloud. Give a beautiful drink, because it's bringing me down, it's got a rhythm. Yeah. When it stumps its feet, it sends me. Right off the sleep. Check all your razors and your guns. We gonna be rattling when the wagon comes out on a big foot. And a bottle up here. Send me calls, I don't care. Play me because I don't care. Give me a pig foot and a bottle of ear. In me, gate. I don't care. I feel just like I want a flare. Give me a flare drink because it's bringing me down. He's got rhythm. Yeah. When he stomps his feet, he sent me. Right off the sleep, check all your razors. And you'll come to the gym, gym, give me a rising sun, give me a reaper, and a gang of gin. Play me call them in my sin. Play me call them to the gin.
SPEAKER_00
And now to Texas with not one but two fiddles. On October 14th, 1929, Irvin Solomon and Joe Hughes recorded the classic Ragtime Annie and this is Alden Johnson. Featuring their whimsical double fiddle. This is a interest to me after having recently released with a black double fiddle Old Time Allen. Solomon and Hughes made only these two recordings, and they were certainly the heart of our fiddle duet studies. The fiddle duo, along with guitarist Joe Solomon, created a lush and elegant setting for these two classics. Without relying on harmony and common seconding techniques that you'll find in early Cajun music, for example. On both tracks, the fiddles begin together, but not in rhythmic unison. The outcome is a wavering, warbly effect that sounds like a calliope operated by ancient spirits. Soon after they sink up and the subtle, gorgeous interplay of their fiddle playing unfolds. Gator Wobble was recorded on November 6th, 1934. Between 1927 and 1934, the Memphis Jug Band made around 80 recordings under several band names, including the Carolina Peanut Boys, the Memphis Sanctified Singers, and the Memphis Sheets. This band had a revolving door with musicians who came and went, including Wilshade, Hambone Lewis, Jab Jones, Ben Rainey, and Memphis Mini, to name only a few. In 1926, many black musicians grouped around Wilshade. He booked gigs and recording days. Many musicians in the band went on to have careers of their own. The Memphis Jug Band played slow blues, popular songs, dance numbers, and funny songs, with string band and jazz flavors.
SPEAKER_07
Oh my goodness.
SPEAKER_00
From Blind Joe Mangrum and Fred Shriver. Blind Joe Mangrum was born March 29th, 1856, and he died January 13th, 1932. He was an exceptional fiddler. The B-side to this record is their version of Bill Cheatham. And it is a smoking version as well. Mangrim appeared on the Grand Ole Opery for several years. He played before the Chicago Symphony Orchestra, and he was a personal friend of humorist Irving S. Cobb. Fred Shriver was no slouch himself. His accordion playing is amazing, and it was just born to be played with the virtuosic fiddling of Blind Joe. Enjoy. Fuller was one of the most popular of the recorded Hiedemon blues artists. He made a living as a street musician and often played around the tobacco houses in Durham. He played a national field guitar like several other old high-rates. Fuller first learned to play the guitar at an early age. He also learned the field haulers, rags, old songs, and blues from older generations. In his years, his eyesight began to fade. Years later, an eye examination in 1937 attributed his blindness and an undetreated neonatal under dividend. He was completely blind. He also wrote a song Big House Bound about his prison end. He also heavily drew from traditional folk and blue songs. In 1940, he was diagnosed with kidney disease, complications of the bladder, and syphilis. He died the following year.
SPEAKER_08
What that's big beach, baby. What does it like beat? What that smell like beat, baby, read the book. What that smell like beat mom. What that smell like beef, baby. What that smell like beat. What that smell like me. Make your moon. Sing the bone thing leaving. When that feel like me, baby.
SPEAKER_00
Joshua Barnes Howell, known as Peg Leg Howell, was born March 5th, 1888, and died August 11th, 1966. He was a guitarist and singer who recorded ballads, rags, and blues. Howell was born on a farm in Georgia. He taught himself to play the guitar when he was 21 and became a formidable finger picker and a master of slide guitar. He worked on the farm until his brother-in-law shot him with a gun during an argument. He lost his right leg due to the altercation and began working as a full-time musician on the street corners of Atlanta in 1923. He also served time for bootlegging. In 1926, Howell was discovered in Atlanta and was recorded by Columbia Records. The label released New Prison Blues, a song he wrote while in prison. It was the first country blues record released by Columbia. Over the next three years, he recorded several more times, often with the mighty blues fiddler, Eddie Anthony. Here is the Beaver Slide Rag. Thanks a ton to Christian Gallo here at the old dingy jukebox. I thought it best that we leave on a high note. So here's the great Tampa Red with the Chicago 5. Enjoy. Stay safe. Black lives matter. And if you get a chance, try learning a musical instrument. It's life-changing.
SPEAKER_09
I'm gonna get high. And it ain't no lie. And play a mold and have a ball. I'm gonna get high. Hold me on my home, baby, don't you cry? I'm gonna get high. It ain't no need, no, no one trying to shave me. I'm gonna get I do the bum. I'm gonna get you a time. Yep. I'm gonna get high. And it ain't no lie. I'm gonna get high. Oh me, oh my Nobody knows why. Oh my baby, don't you cry? I'm gonna get high. There ain't no need of no one. Shame me. Nobody hope to shame me. Oh yeah. Oh, I'm gonna get high. I'm doing my time. I'm gonna get high.
SPEAKER_01
All right, great set. Thanks again to David Bragger. Make sure you go visit his website and check out everything he's got over there. Great recordings and all that. At the old timetikiparlor.com. You can follow this podcast across all social media platforms. We're on Facebook at OldGing Jukebox Podcast, as well as on Instagram at oldGingy Jukebox Podcast. Drop me a line if you want to at oldgenjjukebox at gmail.com. And make sure you join me next week. I'll be back as your host of recording.
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