stevecutway's blog

Tucked in between the Mosen Explosion Family Christmas and Come by the Hills Sunday evening Mushroom FM time is a little show called The Early Years.
Hello, I'm Steve Cutway and my normal musical focus is the 50s and 60s. But not Christmas night.

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’. Saturday afternoon at 03:00 PM Eastern, with an encore presentation Thursday morning at 04:00 AM Eastern, on Mushroom FM, the home of the fun guys, making four decades of magic mushroom memories!

Clyde McPhatter had one of the sweetest and most powerful tenor voices in all of Rhythm & Blues and early Rock n’ Roll. His issue throughout his 22 year recording career, was getting the recognition he thought he deserved. After singing memorable leads on many hit records for Billy Ward & The Dominoes, Clyde left because Billy Ward wouldn’t put his name on the records or pay him a fair share of the profits. Ahmet Ertegun of Atlantic Records was ready to sign McPhatter and give him his own group, The Drifters.

The Drifters would become the most successful vocal group in history, charting hit after hit for over 20 years, with no less than a dozen different lead singers. This week, the “Juke In The Back” spotlights The Drifters’ first chapter with the great high tenor of Clyde McPhatter out front. The group was created by Atlantic Records in order to showcase McPhatter’s beautiful and powerful voice after his 2 year stint with Billy Ward & The Dominos ended.

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 regional 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 be

This week, the “Juke In The Back” spotlights Lowell Fulson, one of the blues’ most versatile and vastly underrated talents. In the late 1940s, Fulson stormed the charts with his first hit “Three O’Clock Blues,” a song that B.B. King would take to the top of the charts in 1951. Fulson started the 1950s with a bang, scoring six charted hits for Swingtime Records in 1950 alone. By ’54, he was on Checker Records out of Chicago with a song that would be covered by Elvis in 1960, “Reconsider Baby.” Fulson wrote many of his own songs and was a major inspiration to both B.B.

The juke is jumpin’ this week with a salute to the lighter side of classic 1950s rhythm and blues.  These “novelty” R&B tunes come from jump blues masters from Louis Jordan to Bull Moose Jackson and all the side-splittin’ jive in-between.  You’ll hear all about Richard Berry, Wynonie Harris, Andre Williams and Dusty Fletcher getting in trouble with the law as well as a wacky song about crazy food.  Join Matt The Cat for a hilarious look at the “soul that came before rock n’ roll” on “Juke In The Back”, Saturday afternoon at 03:00 PM Eastern, with an encore presentation Thursday morning

Memphis Slim dubbed himself the “Ambassador Of The Blues” and for good reason. He spread the gospel of America’s music around the world during his almost 50 year career. This week, Matt The Cat and the “Juke In The Back” take a look at Slim’s prodigious contribution to the genre. He began recording as Pete Chatman (his real name is John Chatman) in 1940 and by the end of the year was already known as Memphis Slim, a name given to him by a producer at Bluebird Records.

In late 1953, RCA Victor launched a new subsidiary to focus on the Rhythm & Blues market, called Groove Records.  They intended for Groove to compete with the independent labels like Chess, Atlantic and Vee-Jay that were dominating the genre.  RCA treated Groove as an indie by setting up its own record distribution network, like an indie, ignoring the mighty distribution arm of RCA Victor.  That might have been the label’s downfall.

Matt The Cat experiences some paranormal rhythms coming out of his “Juke In The Back” as we celebrate the truly spooky, sinister and down-right crazy sounds of a vintage rhythm & blues Halloween. Eugene Fox meets the devil, The Hollywood Flames take us to Frankenstein’s Den and Bill Doggett throws a Monster’s Party. It’s a treat, not a trick to hear an alternate take of Screamin’ Jay Hawkins’ 1956 classic, “I Put A Spell On You,” with EXTRA screaming and a killer sax solo played by Sam “The Man” Taylor.