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Centuries of Sound - 1921

1921

02/03/20 • 0 min

Centuries of Sound

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“The parties were bigger. The pace was faster, the shows were broader, the buildings were higher, the morals were looser, the liquor was cheaper.” F. Scott Fitzgerald

If you could chose any era to live in, the decades between 1910 and 1950 would probably not be the most immediately appealing. Aside from two world wars, a great depression, and the worst pandemic in history, the era was marked by civil unrest, often for good cause, but whose benefits would not be felt until the dust settled many years later. However, in the middle of this maelstrom, we have a period of peace and prosperity, a boomtime for the creative arts, in short “the twenties” – a decade which is shorthand for a cornucopia of culture in the way “the thirties” and “the forties” absolutely aren’t. “Golden times” like these are usually best treated with a pinch of salt – most people tend to be to some degree nostalgic about their youth, particularly writers – but perhaps this time we can take it a little more seriously. The shift which seems to have happened in this time seems if anything like the half-century was saving up its changes and released them all at once while the sun was shining and it wasn’t otherwise occupied.

The dawning of universal suffrage surely had a role here. Even more so, the population of the world shaking itself loose from the incredible suffering of the 1910s. But perhaps the greatest part was played by a series of innovations – some of them technological (as we will get to in a few years) and some the unintended consequences of an ill-thought-out law – prohibition.

From January 17th, 1920, when the Volstead Act went into effect, the USA saw a nationwide ban on the production, importation, transportation, and sale of alcoholic beverages. The sheer logistics of such a thing in a country with such a tradition of alcohol consumption when anyone with minimal expertise could make their own, well, it didn’t make any sense and it still doesn’t. Organised crime immediately began to take over the alcohol business, and consumption shifted from the old bars and hotels to speakeasies. The managers of these places had no stock in the entertainment establishment, and no interest in going through the process of booking well-known vaudeville acts, who probably wouldn’t want to be seen there anyway.

Instead, they hired jazz bands. Touring / recording groups from around the country had residencies in clubs in Chicago and New York where they could practice and innovate every night in front of an audience. The nascent genre, which had been coasting for a few years after its initial explosion, suddenly got a new lease of life. The likes of Armstrong, Ellington and Fats Waller developed their sound in front of sometimes multi-racial audiences. The often regressive instinct of proprietors to be “respectable” had dissipated – what role could censorship ever play in a place whose entire existence was already illegal, and paid for with bribes?

This isn’t to say that all of this has yet seeped through the cracks into recorded media. While (inspired by the success of “Crazy Blues”) Okeh were releasing their series of “race records,” they were still exclusively operating out of New York, and their competitor Paramount Records would not start releasing this sort of recording until the following year. The rest of the music industry was still firmly stuck in the 1900s, releasing the sort of sentimental ballads and d-grade operetta they had been since they’d formed, likely the same singers and the same management too. Occasionally they would put something out by a dance band, and occasionally they would strike gold, but such things do not seem to be generally part of the business plan.

So as far as the mix is concerned, we are still operating on the margins, but the margins are expanding, cracks are forming, soon this wonderful infection is going to be irresistible in its spread.

Tracks

0:00:17 Harry E. Humphrey – Santa Claus hides in your phonograph (Excerpt 1) 0:00:32 American Symphony Orchestra – Ride of the Valkyries 0:01:30 Harry E. Humphrey – Santa Claus hides in your phonograph (Excerpt 2) 0:01:41 Zez Confrey – Kitten On The Keys 0:04:42 Shelton Brooks &am...

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MP3 download | Apple | Mixcloud | Spotify | Castbox | Stitcher | Radiopublic | RSS

“The parties were bigger. The pace was faster, the shows were broader, the buildings were higher, the morals were looser, the liquor was cheaper.” F. Scott Fitzgerald

If you could chose any era to live in, the decades between 1910 and 1950 would probably not be the most immediately appealing. Aside from two world wars, a great depression, and the worst pandemic in history, the era was marked by civil unrest, often for good cause, but whose benefits would not be felt until the dust settled many years later. However, in the middle of this maelstrom, we have a period of peace and prosperity, a boomtime for the creative arts, in short “the twenties” – a decade which is shorthand for a cornucopia of culture in the way “the thirties” and “the forties” absolutely aren’t. “Golden times” like these are usually best treated with a pinch of salt – most people tend to be to some degree nostalgic about their youth, particularly writers – but perhaps this time we can take it a little more seriously. The shift which seems to have happened in this time seems if anything like the half-century was saving up its changes and released them all at once while the sun was shining and it wasn’t otherwise occupied.

The dawning of universal suffrage surely had a role here. Even more so, the population of the world shaking itself loose from the incredible suffering of the 1910s. But perhaps the greatest part was played by a series of innovations – some of them technological (as we will get to in a few years) and some the unintended consequences of an ill-thought-out law – prohibition.

From January 17th, 1920, when the Volstead Act went into effect, the USA saw a nationwide ban on the production, importation, transportation, and sale of alcoholic beverages. The sheer logistics of such a thing in a country with such a tradition of alcohol consumption when anyone with minimal expertise could make their own, well, it didn’t make any sense and it still doesn’t. Organised crime immediately began to take over the alcohol business, and consumption shifted from the old bars and hotels to speakeasies. The managers of these places had no stock in the entertainment establishment, and no interest in going through the process of booking well-known vaudeville acts, who probably wouldn’t want to be seen there anyway.

Instead, they hired jazz bands. Touring / recording groups from around the country had residencies in clubs in Chicago and New York where they could practice and innovate every night in front of an audience. The nascent genre, which had been coasting for a few years after its initial explosion, suddenly got a new lease of life. The likes of Armstrong, Ellington and Fats Waller developed their sound in front of sometimes multi-racial audiences. The often regressive instinct of proprietors to be “respectable” had dissipated – what role could censorship ever play in a place whose entire existence was already illegal, and paid for with bribes?

This isn’t to say that all of this has yet seeped through the cracks into recorded media. While (inspired by the success of “Crazy Blues”) Okeh were releasing their series of “race records,” they were still exclusively operating out of New York, and their competitor Paramount Records would not start releasing this sort of recording until the following year. The rest of the music industry was still firmly stuck in the 1900s, releasing the sort of sentimental ballads and d-grade operetta they had been since they’d formed, likely the same singers and the same management too. Occasionally they would put something out by a dance band, and occasionally they would strike gold, but such things do not seem to be generally part of the business plan.

So as far as the mix is concerned, we are still operating on the margins, but the margins are expanding, cracks are forming, soon this wonderful infection is going to be irresistible in its spread.

Tracks

0:00:17 Harry E. Humphrey – Santa Claus hides in your phonograph (Excerpt 1) 0:00:32 American Symphony Orchestra – Ride of the Valkyries 0:01:30 Harry E. Humphrey – Santa Claus hides in your phonograph (Excerpt 2) 0:01:41 Zez Confrey – Kitten On The Keys 0:04:42 Shelton Brooks &am...

Previous Episode

undefined - 2018

2018

Centuries of Sound is a monthly mix of original recordings from a single year. If you want higher bitrate downloads, a bonus podcast with discussion of the recordings, extra bonus mixes and much more, please support me on Patreon for just $5 per month, and keep the project ad-free.

MP3 download | Apple | Mixcloud | Spotify | Castbox | Stitcher | Radiopublic | RSS

Blood on her hands... ...I’m not that nice... ...there’s one viewer you care about... ...it’s not that serious... ...what’s your deal, man?... ...I use my white woman’s voice... ...you can’t dance around it... ...no sweat, no tears... ...enemy of the people... ...don’t think we can be friends... ...shut the hell up... ...let me cloak my wrist... ...but it’s good to know... ...is there a single soul out there listening?... ...people have all sorts of ideas... ...you have the cheek to call us savages... ...barbies on the kid and they flex with the gang... ...I guess we proved you wrong... ...I never voted for you... ...never or now... ...claire said you were brutal... ...we have lots of history... ...never again... ...I’m doing it because I feel sorry for you... ...one-sided news stories plaguing our country... ...it’s just unbelievable... ...cut off some friends, where they go... ...this system is insane... ...I don’t have any feelings... ...I’m a flawed human being... ...spread my wings in these noxious skies... ...you have created this monster... ...I don’t think you’re thinking anything... ...laurel... ...I guess neither one of us... ...this a celly, that’s a tool... ...a life without despair is a life without hope... ...I felt like I didn’t know her... ...does the president believe he is above the law?... ...the company I keep is not corporate enough... ...ain’t no surprises in the repertoire... ...the memory of making love... ...fuck trump... ...it seemed so odd though, how they so cocky... ...why are you scared of me?... ...history will judge us... ...this meeting of two dictators... ...it’s not your property... ...what you reap is what you sow... ...it’s like this mad riddle... ...you don’t need to be scared... ...do not mention that you think that you are jesus christ... ...let it be the day the pain stop... ...this is a good conversation... ...I know no one will save me... ...I’ll try not to sound too awful, but... ...I don’t care what I’ve been told... ...I don’t see any reason why it would be... ...fuck it, I did my time... ...the self-inflicted wounds of your own imagined democratic choices... ...eager and unashamed... ...I just wanna fly... ...truth isn’t truth... ...to the bottom of a made up ocean... ...only a fool folds a winning hand... ...blind are the brokers and the unskilled workers... ...that is all, that is all, there is nothing else... ...his weight was heavy... ...I wanna smell you, even from far away... ...double agents atcha door... ...a hit dog will holler... ...I’m a breath of drop and the sea nears me... ...it’s dull as hell... ...when two worlds collide, two things happen... ...no one is leaving, now this is your home... ...only thing on my mind was death... ...the internet looked at him and said yes... ...it’s called transparency... ...if you miss it, that’s that... ...I know it’s hard to be an optimist when you trust least the ones who claim to have the answers.

Tracklist – Just the music

0:00:20 Geoff Barrow & Ben Salisbury – Excerpt from “Annihilation” OST 0:00:51 Mount Eerie – Distortion 0:01:07 MGMT – When You Die 0:02:02 Ravyn Lenae – Sticky 0:03:58 Grace Vonderkuhn – Worry 0:05:54 Anna von Hausswolff – The Truth, the Glow, the Fall 0:07:27 Tune-Yards – Colonizer 0:09:07 Spice – Tik Tak 0:10:41 Hoodboi – Glide feat. Tkay Maidza 0:13:13 Nilufer Yanya – Thanks 4 Nothing 0:15:29 Leif – Number 13 0:17:14 JPEGMAFIA – 1539 N. Calvert 0:18:47 Kero Kero Bonito – Only Acting 0:22:50 E Ruscha V – Who Are You 0:24:03 ionnalee – Blazing 0:24:52 Simmy ft. Sun-EL Musician – Ubala 0:26:51 Peach – Silky 0:29:40 700 Bliss – Cosmic Slop 0:31:05 Stormzy – Brit Awards Performance 0:31:34 Loski – Cool Kid 0:33:41 Andrew W.K. – Music Is Worth Living For 0:36:20 Jon Hopkins – Emerald Rush 0:40:05 Natalie Prass – Short Court Style 0:42:16 Doja Cat – Go To Town 0:44:46 Novelist – Stop Killing the ...

Next Episode

undefined - 1922

1922

Centuries of Sound is a monthly mix of original recordings from a single year. If you want higher bitrate downloads, a bonus podcast with discussion of the recordings, extra bonus mixes and much more, please support me on Patreon for just $5 per month, and keep the project ad-free.

MP3 download | Apple | Mixcloud | Spotify | Castbox | Stitcher | Radiopublic | RSS

In a moment I will press the ‘publish’ button on this post, the RSS feed will be updated, the show will be updated on different podcast apps, and people all over the world will be able to hear this mix. It’s a bit glib to say we take all of this for granted, that’s what the progress of technology is all about, after all, but still, imagine someone in 1922 in the place you live – most of this music would be completely inaccessible to them. They might be rich enough to own a phonograph, but the chances they would have something like this collection of new sounds is astronomically small. If I’m making a soundtrack of what people are hearing around the world then this still isn’t really it.

But things are still changing at an increasing speed (aren’t they always?) For one, radio is finally taking off, a good 25 years after its initial “invention” (putting scare quotes around that because it’s such a minefield I don’t know where to even begin.) Strangely enough there were effectively audio broadcasts as far back as the 1890s, with music and speech transmitted down phone lines, but these never took off as a mass medium. The best claim to being the first real radio station is perhaps 2XG in New York, which was using a vacuum-tube transmitter to make news and entertainment broadcasts (gramophone records) on a regular schedule as early as 1915, and even broadcast the result of the 1916 presidential election. This was, naturally, over a small area of the city, probably picked up by a small number of hobbyists, and disappeared from the airwaves as the USA became involved in the First World War. By 1922, though, a wide range of stations had sprung up around the USA, the Marconi company opened 2MT and 2LO in London and CFCF in Montreal, and music stations were broadcasting in Paris and Buenos Aires. What tantilising recordings do we have from this? The answer is, apparently none whatsoever, not even the merest scrap, nothing substantial for another five years. Nobody thought to put a recording gramophone in front of a radio receiver. They did, however, record radio parodies on disc, and that’s something at least.

This is a music-based show, so I shouldn’t neglect developments in this area. The majority of this mix is concerned with a massive expansion of classical female blues, with a knock-on explosion of resurgent jazz, but we’ll have plenty of time to discuss this next time. More interesting perhaps are two simply transcendent recordings from Alexander Campbell “Eck” Robertson. Robertson was born in Arkansas, grew up in Texas, and began learning the fiddle from the age of five. He spent 18 years working as a jobbing musician at medicine shows, a piano tuner, an accompaniment for silent movies and at country fiddling contests. At a reunion of confederate soldiers in 1922 he met 74-year old fiddler Henry C. Gilliland, and the two of them decided to audition for the Victor Talking Machine Company. The resulting records made no great waves at the time, but in a historical context they are just astonishing, not simply country music five years before it supposedly started to be recorded, but such perfect sounds that they seem to be a door to an unknowable world of regional music prior to the invention of electrical recording.

This is also the “stride piano” mix – not such a wild departure as it represents the natural bridge from ragtime piano to jazz piano, but a music which thankfully has its pioneers reasonably-well represented. James P. Johnson and Fats Waller both appear here, on their own and accompanying the blues singers. If we want to take away one single picture from this year, it would again be these people playing somewhere in a smoky speakeasy. That wouldn’t be a fair representation, of course, but really, what is? Tracks

0:00:20 Joe Hayman – Cohen Listens in on the Radio 0:00:27 Frederic Lamond – Beethoven’s Piano Concerto...

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