Juke In The Back

Matt The Cat
  • 5.0 (60)
  • Music History
  • Updated Weekly

At the end of the Second World War, economics forced the big bands to trim their once great size and thus, the Jump Blues combo was born. Between 1946-1954, rhythm and blues laid the tracks for what was to become Rock n’ Roll. So how come, 75 years later, this vibrant and influential music is still so unknown to so many? Matt The Cat is going to change that with the radio program, “Juke In The Back.” These were the records that you couldn’t hear on the jukebox in the front of the establishment. To hear all this great 1950s rhythm & blues, you had to go to “Juke In The Back.”

Episodes

  1. 6d ago

    Episode #838 – Imperial Records, Pt. 11 – 1957-58

    Air Week: May 25-31, 2026 Imperial Records, Pt. 11 – 1957-58 Imperial Records was a major player among the indie labels of the late 1940s and the entirety of the 1950s. Started in Los Angeles in 1946 by Lew Chudd, a Canadian raised in Harlem, Imperial began filling the ethnic and cultural voids left by the majors at the time. Chudd knew there was a large market for Latino Music in America, so he headed to Mexico City and recorded some Mexican jump bands that sold very well. He then included square dance records which also racked up sales as now square dances could be held without callers. He began recording Rhythm & Blues in 1947 and by ’49, he had hired Dave Bartholomew to scout talent in fertile New Orleans. The Braun Brother had beat him to The Crescent City by recording Paul Gayten and Annie Laurie first, but with Bartholomew’s help, Chudd was able to sign Fats Domino, Smiley Lewis, Archibald and Jewel King, dominating the New Orleans R&B scene. This week, we conclude our Imperial series with part eleven, focusing on Imperial’s R&B releases from the end of 1957 and the beginning of 1958. There’s a new hit-maker in town as Imperial signs the young heartthrob, Ricky Nelson as well as other Rockabilly, Rock and Pop acts. Chudd begins to move the label away from Rhythm & Blues and that great New Orleans sound that brought the hits over the past decade. Fats is still able to chart and does so with gusto as “What Will I Tell My Heart,” “Wait & See,” “When I See You,” “Sick & Tired” and “The Big Beat” all make the charts. Ernie Freeman scores one of Imperial’s best-sellers with his cover of the Bill Justis tune, “Raunchy” and Bobby Mitchell records the first version of “I’m Gonna Be A Wheel Someday.” 1958 is a great place for us to stop as we’ve covered Imperial’s R&B heyday over the past eleven week’s on your source for the “soul that came before Rock n’ Roll,” the “Juke In The Back.”  LISTEN BELOW

    59 min

  2. May 17

    Episode #837 – Imperial Records, Pt. 10 – 1957

    Air Week: May 18-24, 2026 Imperial Records, Pt. 10 – 1957 Imperial Records was a major player among the indie labels of the late 1940s and the entirety of the 1950s. Started in Los Angeles in 1946 by Lew Chudd, a Canadian raised in Harlem, Imperial began filling the ethnic and cultural voids left by the majors at the time. Chudd knew there was a large market for Latino Music in America, so he headed to Mexico City and recorded some Mexican jump bands that sold very well. He then included square dance records which also racked up sales as now square dances could be held without callers. He began recording Rhythm & Blues in 1947 and by ’49, he had hired Dave Bartholomew to scout talent in fertile New Orleans. The Braun Brother had beat him to The Crescent City by recording Paul Gayten and Annie Laurie first, but with Bartholomew’s help, Chudd was able to sign Fats Domino, Smiley Lewis, Archibald and Jewel King, dominating the New Orleans R&B scene. This week, we continue our Imperial series with part ten, focusing on Imperial’s R&B releases from 1957. Fats Domino continues his hit streak as both “Blue Monday” and “I’m Walkin'” top the R&B chart and “Valley of Tears” stalls at #2. These 3 singles would also crack the pop top 10! Dave Bartholomew records a cult favorite about the Signifying Monkey and produces some great sides from James “Sugarboy” Crawford, Faye Adams and Chris Kenner. Blues shouter Roy Brown returns to the charts in ’57 on Imperial with “Let The Four Winds Blow” and a cover of Buddy Knox’s Rockabilly hit, “Party Doll.” The line between R&B and Rock n’ Roll is blurred as we keep those records spinning on part ten of the Imperial Records Story on this week’s “Juke In The Back.”  LISTEN BELOW

    59 min

  3. May 10

    Episode #836 – Imperial Records, Pt. 9 – 1956, Pt. 2

    Air Week: May 11-17, 2026 Imperial Records, Pt. 9 – 1956, Pt. 2 Imperial Records was a major player among the indie labels of the late 1940s and the entirety of the 1950s. Started in Los Angeles in 1946 by Lew Chudd, a Canadian raised in Harlem, Imperial began filling the ethnic and cultural voids left by the majors at the time. Chudd knew there was a large market for Latino Music in America, so he headed to Mexico City and recorded some Mexican jump bands that sold very well. He then included square dance records which also racked up sales as now square dances could be held without callers. He began recording Rhythm & Blues in 1947 and by ’49, he had hired Dave Bartholomew to scout talent in fertile New Orleans. The Braun Brother had beat him to The Crescent City by recording Paul Gayten and Annie Laurie first, but with Bartholomew’s help, Chudd was able to sign Fats Domino, Smiley Lewis, Archibald and Jewel King, dominating the New Orleans R&B scene. This week, we continue our Imperial series with part nine, focusing on Imperial’s R&B releases from the second half of 1956. Fats Domino has the biggest hit of his entire career with “Blueberry Hill,” a tune that Dave Bartholomew did not think he should record. It sold millions and millions and topped the R&B charts and landing at a whopping #2 on the pop chart. Matt The Cat presents the story behind that monumental release as well as spinning some great and seldom heard vocal group records from The Barons, The Victorials, The Dukes and The Honey Bees, a female group. We’ll also dig on some solid R&B releases from Johnny Fuller, Ernie Freeman and Gloria Jean Pitts as we keeps those records spinning on part nine of the Imperial Records Story on this week’s “Juke In The Back.” LISTEN BELOW

    59 min

  4. Mar 8

    Episode #827 – Live 1951: Midnight Matinee

    Air Week: March 9-15, 2026 Live 1951: Midnight Matinee This week, the “Juke In The Back” presents a unique program designed to put the listener in a front row seat for a live rhythm review performance. So often, we wonder what a live program would have been like before the dawn of Rock n’ Roll? Well, thanks to the preservation of this 2 week program in Los Angeles from late September and early October of 1951, we can catch a glimpse. Promoter Bill Lester intended to hold weekly midnight concerts at the Olympic Auditorium in downtown LA, but after 2 weeks, the late-night shows were scraped, due to the fact that they were losing money. Lester hired LA disc jockey, Hunter Hancock, who was a trailblazer in playing R&B on the radio to emcee the shows. Some of the biggest names in West Coast R&B performed; Big Jay McNeely, Floyd Dixon, Maxwell Davis and Peppermint Harris. What’s spectacular is the lesser-known talent; Madelyn Perkins, Ernie Andrews, Smilin’ Smokey Lynn and the Gospel group, the Golden Keys. Radio station KMPC agreed to air the first half hour of these 2 hour concerts, which should have led to greater promotion of the event, but alas, after 2 weeks it was done. We are so fortunate that Bill Lester recorded portions of these shows, so that 75 years later, we can still experience the excitement and joy of the music. Sit back as Matt The Cat takes you to the Olympic Auditorium in Los Angeles for the Midnight Matinee, an exciting jaunt into the world of the live R&B review show. LISTEN BELOW

    59 min

  5. 07/28/2020

    Juke In The Back Promo

    1940s & â€50s Rhythm & Blues At the end of the Second World War, economics forced the big bands to trim their once great size and thus, the Jump Blues combo was born. Between 1946-1954, rhythm and blues laid the tracks for what was to become Rock n†Roll. So how come, 70 years later, this vibrant and influential music is still so unknown to so many? Matt The Cat is going to change that with the radio program, “Juke In The Back.” These were the records that you couldnâ€t hear on the jukebox in the front of the establishment. To hear all this great 1950s rhythm & blues, you had to go to Juke In The Back.

    1 min
  • 5 Episodes

5
out of 5
60 Ratings

About

At the end of the Second World War, economics forced the big bands to trim their once great size and thus, the Jump Blues combo was born. Between 1946-1954, rhythm and blues laid the tracks for what was to become Rock n’ Roll. So how come, 75 years later, this vibrant and influential music is still so unknown to so many? Matt The Cat is going to change that with the radio program, “Juke In The Back.” These were the records that you couldn’t hear on the jukebox in the front of the establishment. To hear all this great 1950s rhythm & blues, you had to go to “Juke In The Back.”

Information

  • Creator
    Matt The Cat
  • Years Active
    2011 - 2026
  • Episodes
    5
  • Rating
    Clean
  • Show Website
    Juke In The Back

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