Podcast of first few tracks from an old mix tape I found recently. Mostly old hawaiian and old timey tracks from the 30's and 40's.
Tracks are as follows-
1. Abdul Abulbul Ameer - Frank Ifield 2. Hula Girl - Sal Hoopii's Quintet 3. Hawaiian Cowboy - Sol K. Bright & His Hollywiians 4. Jonah In The Whale - Golden Gate Quintet 5. Ol' Man Mose - Golden Gate Quintet 6. New Jole Blon - Moon Mullican
FRANK IFIELD is an Australian who had a few hits in the U.K. in the early 60's. His first was "I Remember You" and was one of the first records I ever bought. It was the first time I'd heard any yodelling in the pop charts!
SOL K. BRIGHT. "Solomon Kekipi Bright was born in Honolulu, and became famous as a composer, musician, comic dancer, producer, director and actor. The author of 'Hawaiian Cowboy,' 'Sophisticated Hula,' and many others began his career with his sister Hannah Bright's orchestra. He joined Sol Hoopii's orchestra in 1928 on the mainland, then returned to Honolulu and formed his own band. He toured the west coast from 1936 through 1957, while appearing in every major Waikiki venue when on island.
Sol's brother Andy popularized 'Hawaiian Cowboy' on Hawaii Calls, using a dummy horse as a prop, an idea Hilo Hattie appropriated for her shows. Sol's other comic hit, 'Hawaiian Scotsman,' made a star out of Bill Akamuhou. Sol's hundreds of recordings sold millions of copies. He was a moving force behind the formation of the Hawaiian Professional Songwriter's Society and the Hawaiian Music Awards Academy."
GOLDEN GATE QUARTET. "When the GGQ burst onto the gospel music scene in the 1930's out of the Tidewater region of Virginia, black churches were quite musically conservative and not given to rhythmic experimentation or nods toward popular music. Thus there was a fair amount of head-shaking when the GGQ emerged as the leader of a very fine pack of Gospel groups during a very difficult and trying time in American history. Appearing on a North Carolina radio station led to a move north, then to a Bluebird recording contract. The strong beat and counterpoint in those first recordings are looked upon as a turning point in Gospel music, a rebirth of the spiritual."