u/BigAssQuanta

Elvis's version of "Mystery Train" is universally hailed by music historians as a definitive moment in the birth of rock and roll. It perfectly blended rhythm & blues with country (the essence of rockabilly). The propulsive, eerie rhythm driven by Scotty Moore's guitar and Bill Black's bass practically simulated a speeding train, creating a raw, energetic sound that inspired countless future rock musicians. Rolling Stone magazine ranked it among the Greatest Songs of All Time. It is frequently cited as one of the most influential rock recordings ever made.

Listen to this digitized 78rpm record and other Elvis 78rpm records at:

https://youtube.com/@mamlishblues?si=MEyqSx3eaCts7Tcx

From the Neven78 Radio Archive

Heavy Weather went platinum and featured "Birdland". Their instrumental jazz influenced pop and hip-hop producers who sampled their complex grooves for decades.

"Eric Dolphy was one of the few virtuosos in jazz history to fully master three distinct instruments, and this concert showcases his legendary flexibility on all of them: ​The 1961 Tour: The music was captured live across two specific dates—September 6 and 8, 1961—during Dolphy's solo tour of Scandinavia. This occurred right at a critical inflection point in his career, just as his highly influential (and controversial) collaborations with John Coltrane and Charles Mingus were elevating him to a central figure in the emerging free jazz movement. Because Dolphy tragically passed away in Berlin in 1964 at the young age of 36, these mid-70s archival reissues became crucial in cementing his legacy, introducing his groundbreaking European live work to a younger generation of American listeners. "

“Bear Cat” is one of the earliest and most talked‑about records in the Sun catalog — a sharp, funny, and unmistakably Memphis answer song to Big Mama Thornton’s “Hound Dog.” Released in March 1953, it captures Rufus Thomas at the dawn of his recording career, delivering a sly vocal performance over a raw R&B groove shaped by Sam Phillips’ emerging studio sound. The record became historically significant not only for its music but for the copyright lawsuit it triggered. Its close resemblance to “Hound Dog” led to one of the first major infringement cases in early rock ’n’ roll, setting a precedent that shaped how labels navigated creativity and influence in the 1950s..

From the Neven 78 Radio Archive

https://youtube.com/@mamlishblues?si=uvYTXuaL-fQ-g63z

Cactus 1970"Let Me Swim"

The formation of Cactus is tied directly to what almost happened with Led Zeppelin and Jeff Beck.

​Originally, bassist Tim Bogert and drummer Carmine Appice—the powerhouse rhythm section of the psychedelic rock band Vanilla Fudge—planned to form a massive supergroup with guitar virtuoso Jeff Beck and singer Rod Stewart in late 1969.

​However, fate stepped in: Jeff Beck was involved in a serious automobile accident that put him out of commission for over a year, and Rod Stewart joined Faces instead. Unwilling to wait around, Bogert and Appice recruited guitarist Jim McCarty (from Mitch Ryder & The Detroit Wheels) and singer Rusty Day (from Ted Nugent’s Amboy Dukes). Thus, Cactus was born.

The album has a massive legacy among guitar players. Eddie Van Halen was a massive fan of Jim McCarty's playing on this exact record. If you listen to the intro of "Let Me Swim" on Side Two, you can hear the exact DNA, aggressive tapping-like phrasing, and rapid-fire blues licks that Eddie openly admitted inspired his revolutionary 1978 instrumental, "Eruption."

The "French Bing Crosby": In the early 1930s, Sablon revolutionized French music by introducing the American "crooner" style to France. Before him, French pop music was dominated by theatrical, booming operatic voices meant to reach the back of music halls without amplification.

​The Microphone Pioneer: Sablon was one of the very first French artists to embrace the microphone as an instrument. It allowed him to sing in a warm, intimate, whispered style directly into the listener’s ear.

​International Appeal: He wasn't just big in France; he had a major career in the United States, signing contracts with American radio networks in the late 1930s and collaborating with jazz giants like Django Reinhardt.

From the Neven78 Radio Archive

https://youtube.com/@mamlishblues?si=SWqtdjC\_Z6rN6q1A

"When Things Go Wrong With You" This 1949 combo version became a major hit, peaking at No. 9 on the Billboard R&B charts in 1950. It solidified the song as a blues standard. It was later covered and popularized by Elmore James, Muddy Waters, The Grateful Dead, and Eric Clapton.

"Come On, If You're Coming"

Written by Tampa Red (under his real name, Hudson Whittaker), this B-side captures his energetic, full-band "combo" sound that bridged the gap between pre-war acoustic blues and post-war electric Chicago blues.

Digitized from the original Victor 78rpm disc and available at:

https://youtube.com/@mamlishblues?si=vxbVttwkY8Qn59z2

Side A — You Got to Give Me Some

Late‑1930s Chicago bluesNotes: One of Tampa Red’s sly, double‑entendre blues numbers, cut during his prolific Bluebird period when he was effectively the “Guitar Wizard” of Chicago’s house‑band sessions.

Side B — Poor Old Gal Blues

Late‑1930s Chicago bluesNotes: A slower, more mournful blues built around Tampa Red’s smooth vocal delivery and signature clean guitar lines. Classic Bluebird sound: intimate, warm, and tightly arranged.

The Neven78 Radio Archive

Digitized abd you can listen to both sides @

https://youtube.com/@mamlishblues?si=c2CRFOdWwLD8mVxu

https://youtube.com/@mamlishblues?si=YUSocuY31qk3NH5g

Ova šelak ploča s crvenom etiketom i brzinom od 78 okretaja u minuti objavljena je u okviru međunarodne/etničke serije **Columbia** (**Kataloški broj 1230-F**). Riječ je o iznimno jedinstvenom medijskom djelu iz doba imigracije, proizvedenom u Sjedinjenim Državama oko **1927.** posebno za dijasporu koja govori srpsko-hrvatski. Umjesto glazbe, ova ploča sadrži dvodijelnu kazališnu komičnu rutinu u vodviljskom stilu. ## Povijesna i kulturna pozadina Tijekom 1920-ih, američke diskografske kuće poput Columbije i Victora održavale su ogromne kataloge "etničkih serija". Zapošljavale su lokalne imigrantske glumce, pjevače i komičare da snimaju skečeve koji su odražavali kulturna iskustva, humor i narodne priče njihovih domovina kako bi ih prodavale radnicima koji su patili za domom u rastućim industrijskim gradovima poput Pittsburgha, Detroita i Chicaga. Izvođači navedeni na ovoj ploči koriste vrlo pretjerana, satirična scenska imena: * **Maksim Prdić:** Prezime "Prdić" je razigrano, pomalo grubo komično ime izvedeno iz južnoslavenske riječi za nadutost. * **Mara Turpija:** Prezime "Turpija" doslovno se prevodi kao "metalna turpija" ili "rašpa", što ukazuje na abrazivnu, oštroumnu osobnost njezina lika. ## Strana A (Datoteka: 1000014367.jpg) * **Naslov:** *"Maksa Prosi Udovicu Maru - Dio I"* (*"Maksa zaprosi udovicu Maru - 1. dio"*) * **Žanr/Jezik:** Srpskohrvatska strip skica * **Izvođači:** Maksim Prdić i Mara Turpija * **Broj matrice:** 113056 ## Strana B (Datoteka: 1000014368.[span_5](start_span)jpg) * **Naslov:** *"Maksa Prosi Udovicu Maru - Dio II"* (*"Maksa zaprosi udovicu Maru - 2. dio"*) * **Žanr/Jezik:** Srpskohrvatska strip skica * **Izvođači:** Maksim Prdić i Mara Turpija * **Broj matrice:** 113057 ### Kontekst radnje: Skeč detaljno opisuje komičnu, naglu prosidbu između lika Makse i oštroumne udovice Mare. Ovi skečevi obično su se uvelike oslanjali na duhovite prepirke, regionalne dijalekte i reference na razlike između života na Balkanu i snalaženja u životu novog imigranta u Sjedinjenim Državama.

🎵 Artist: Lonnie Johnson

💿 Label: OKeh

🔢 Catalog Number: 8497

📅 Recording Date: August 11 & 12, 1927

📍 Location: New York City, NY

🎶 Genre: Early Delta Blues / Country Blues

Format: 10" Shellac Record (78 RPM)

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TRACKLIST & DETAILS:

Side A:

🎵 Title: Mean Old Bed Bug Blues

✍️ Writer: (Wood)

🔢 Matrix / Runout: (81214) / Ⓦ81214A

🎤 Style: Vocal with Guitar

📅 Recorded: August 11, 1927

Side B:

🎵 Title: Roaming Rambler Blues

✍️ Writer: (Wood)

🔢 Matrix / Runout: (81220) / Ⓦ81220B

🎤 Style: Vocal with Guitar

📅 Recorded: August 12, 1927

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https://youtube.com/@mamlishblues?si=fvgwuvncdHpT99Mi

HISTORICAL NOTES:

This rare 1927 release on the iconic OKeh "Electric" red label showcases Lonnie Johnson, a pioneer of the single-string jazz/blues guitar solo. "Mean Old Bed Bug Blues" was a highly popular blues composition of the era, also famously recorded by Bessie Smith and Furry Lewis.

#LonnieJohnson #Blues78rpm #OKehRecords #CountryBlues #1920sBlues #ShellacRecord #78rpm

https://youtube.com/@mamlishblues?si=fvgwuvncdHpT99Mi

Texas Jim Robertson was one of Bluebird’s reliable western‑swing and cowboy‑ballad voices. His recordings bridged the gap between the pre‑war hillbilly style and the polished post‑war Nashville sound. This disc likely dates from the 1944–45 period, when Bluebird was issuing many Robertson sides before his later RCA Victor releases.

https://youtube.com/@mamlishblues?si=Y6eY8TZg612ANSgn

🎧 Welcome to the Neven78 Radio Archive 🎧

Today we are diving into a pristine slice of 1950s vocal jazz history with a rare, white-label "Record Prevue" promotional 78 RPM single from the legendary Eartha Kitt. Recorded in 1953, this dual-sided radio station sample showcases Kitt at the absolute zenith of her early cabaret-pop fame.

Side A features one of her defining, delightfully wicked signature tracks, while Side B serves up a lesser-heard, theatrical narrative standard backed by a tight male vocal quartet.

🎵 TRACKLIST & TIMESTAMPS:

0:00 - Side A: I Want To Be Evil (Eartha Kitt with Henri René and his Orchestra)

3:25 - Side B: Annie Doesn't Live Here Any More (Eartha Kitt with Male Quartet & Orchestra conducted by Hugo Winterhalter)

📌 ARCHIVE DETAILS:

• Artist: Eartha Kitt

• Label: RCA Victor

• Catalog Number: 20-5442

• Format: 10" Shellac (78 RPM)

• Release Date: 1953

• Pressing Type: Disc Jockey Sample / Not For Sale Promo

Historical Note: "I Want To Be Evil" was recorded on March 12, 1953, and peaked at #22 on the Billboard charts, further cementing Eartha Kitt's status as a global cabaret sensation and master storyteller just months before her massive holiday hit, "Santa Baby."

✨ If you love vintage audio preservation, high-fidelity shellac rips, and forgotten radio history, please LIKE, COMMENT, and SUBSCRIBE to the channel!

#EarthaKitt #78RPM #VintageJazz #1950sMusic #Cabaret #ShellacArchive #Neven78RadioArchive #RadioPromo

Erskine Hawkins and His Orchestra

A powerhouse swing band known for high‑energy arrangements and tight brass work.

Hawkins, nicknamed “The 20th Century Gabriel,” was one of the most distinctive trumpeters of the swing era.

Recorded c. late 1930s

https://youtube.com/@mamlishblues?si=8VDSfZHbH0Vjeco2

Shame it's no longer published.

Billie Holiday — “Crazy He Calls Me”

Decca Records — 24796

Matrix W7542T2A

78 rpm, U.S. pressingA late‑1940s Decca session featuring Billie Holiday at her most intimate and expressive.

Written by Carl Sigman and Bob Russell, “Crazy He Calls Me” became one of Holiday’s signature ballads — a slow‑burning, emotionally rich performance that shows her mastery of phrasing and nuance.This original Decca Personality Series pressing captures that warm, velvety studio sound typical of the label’s post‑war era. Holiday’s voice floats over a restrained orchestral backing, giving the song its timeless, late‑night glow.From The Neven 78 Radio Archive — preserving historic jazz, blues, and popular music on original shellac.

​

Listen to Lady Day at:

https://youtube.com/@mamlishblues?si=7HFH\_xEx0PVcJLJR

A powerhouse improvisation from Sidney Bechet, one of the most commanding voices in early jazz. “Saturday Night Blues” captures Bechet in full flight — rich tone, fierce vibrato, and that unmistakable melodic authority that made him a legend on both clarinet and soprano sax.This early Blue Note release comes from the label’s formative years, when Alfred Lion and Francis Wolff were documenting some of the most vital small‑group jazz in New York. The 767 Lexington Ave. address places this disc firmly in the pre‑modern Blue Note era, prized by collectors for its raw, intimate sound.

​

https://youtube.com/@mamlishblues?si=HGWylRM5llstOdoa

A fiery, character‑rich performance from Henry “Red” Allen, showcasing the blend of New Orleans heat and swing‑era sophistication that made him one of the most distinctive trumpeters of his generation. Issued on the ornate UK Vocalion Swing Series, this side pairs perfectly with its companion, “Along, Prairie Moon,” but delivers a much more driving, rhythmic punch.

​

https://youtube.com/@mamlishblues?si=HGWylRM5llstOdoa

​"Too Much" was a massive success, reaching #1 on the Billboard Best Sellers in Stores chart and the Cash Box Top 100 chart.

​It peaked at #2 on the overall Billboard Top 100 pop chart, falling just shy of the top spot.

​

Listen to Elvis sing "Too Much" :

​

https://youtube.com/@mamlishblues?si=HGWylRM5llstOdoa