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A regular location for these teams was Texas. Throughout the 1920s and 1930s recording sessions in Texas were held in hotel spaces, churches, office complex, banquet halls, and radio stations, consisting of WOAI in San Antonio. Finding appropriate areas at that time was often tough because of segregation at hotels and other industrial locations, and because churches would not constantly authorize of the music being tape-recorded.

Recording onto wax-coated cylinders or thick beeswax discs provided a variety of problems, specifically in the Texas heat. The engineers would keep the wax on ice prior to and after recording. When electronic recording began in the mid-to-late 1920s, heats likewise caused loud crackling in the carbon microphones utilized at the time, so they were frequently kept on ice along with the wax until right before beginning the recording.

The conditions at these recording sessions were primitive by today's standards. Musicians usually remained in one space, and the equipment and engineers were in another, so they might not see one another. The musicians had to wait quietly till a yellow light went on, which suggested "prepare!" When a thumbs-up began, it was time to play, and there was no stopping due to the fact that of errors.

Amongst the significant blues and gospel sessions, Victor Records and a later subsidiary label, Bluebird, taped in Dallas and San Antonio almost once a year from 1929 to 1941. Artists taped in Texas by Victor include Hattie Hyde, Sammy Hill, Jesse "Babyface" Thomas, Bessie Tucker (Dallas, 1929), Jimmie Davis, Eddie and Oscar, Pere Dickenson, Ramblin' Thomas, Walter Davis, Stump Johnson (Dallas, 1932), the Mississippi Sheiks, Bo Carter, Joe Pullum, Rob Cooper (San Antonio, 1934), Boots and His Friends (San Antonio, 1936), Andy Young Boy, Walter "Cowboy" Washington, Big Young Boy Knox, Ted Mays and Atrioventricular Bundle (San Antonio, 1937), Bo Carter, Frank Tannehill (San Antonio, 1938), and the Wright Brothers (Dallas, 1941).

Courtesy Alan Govenar, Documentary Arts, Dallas. The Atlanta-based OKeh label made its first school outing to Texas in 1925. In Dallas it taped Rev. William Mc Kinley Dawkins, though this recording was for Sunlight Gospel Records. In 1928 and 1929 Okeh went back to tape , Lonely Charlie Harrison, and Jack Ranger. Columbia came to Dallas in 1927 and 1928 and tape-recorded In late 1929 Columbia purchased OKeh, one of a number of mergers in the recording market caused by the Great Depression .

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Although records were launched on both labels, only one recording team was sent. In Dallas and San Antonio they taped a lot of their artists once again, finishing recordings for the Columbia label before recording for OKeh. Tape ad for Henry "Ragtime Texas" Thomas. Courtesy Alan Govenar, Documentary Arts, Dallas. Brunswick and Vocalion preferred to tape in New York or Chicago, but made expedition to Dallas in 1928, 1929, and 1930.

Brunswick later on established an office in Dallas. The American Record Corporation made maybe the best-known and influential of the race-label field recordings in Texas-- the Light Crust Doughboys .) Other Texas R&B race-label musicians left the state to be recorded. T-Bone Walker made his first recordings in Dallas in 1929 for Columbia, but a number of his major recordings in later years were made beyond Texas.

Mexican-American border music was likewise proving to have a lucrative local market, so some of the major race labels started recording Tejano artists. Many of the early recordings of Lydia Mendoza , with her household performers Cuarteto Carta Blanca, made her very first recording, for OKeh Records. Recordings of Mexican-American music increased in the 1930s, with Tejano artists occupying more of the recording slots at the momentary studios in Texas.

Lydia Mendoza left Okeh Records and started recording on the Bluebird label in 1934. An exceptionally popular singer worldwide, she tape-recorded more than 200 songs for them by 1940. Accordionist Throughout the 1930s a clear difference in styles evolved between the border music of California and Texas. The popularity of the recordings from Texas helped to establish the Adolph Hofner , who recorded there for OKeh and Columbia.

Recording, radio, and western swing. When electronic recording began in 1925, there was some promise for expanding record sales, because discs were easier here to duplicate than cylinders. Electronics also caused radio , nevertheless, and the growth of industrial broadcast radio put a crimp in the development of record sales in the early-to-mid 1920s.

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Much of the recording in the 1920s was done at radio stations such as WOAI in San Antonio and WFAA in Dallas, where musicians would perform and be recorded on transcription discs for later broadcast. Transcription recording equipment was pricey, generally discovered just at the bigger radio stations, and was not a consumer format, although some radios with integrated disc recorders remained in the houses of rich individuals.

The Great Anxiety further decreased the need for records, which cost about seventy-five cents, a fair amount of cash in those days. However, the increasing use of jukeboxes created a market for records, and the significant record companies that survived the depression saw their market broaden in the 1930s, though costs of the 78-rpm records had actually dropped to about thirty-five cents each.

Lee O'Daniel's Light Crust Doughboys, a hillbilly precursor of western swing bands, was one of the very first groups to make use of and be exploited by the effective mix of radio and recording that started in the late 1920s. The appeal of their radio program on A number of members of the Light Crust Doughboys had a substantial effect on Texas music and recording after leaving the band.

In 1939 the Houston dance band Moon Mullican , from Corrigan, was the vocalist. Interior of Studio A at Gold Star Studios in Houston, 1966. Thanks To Sugar Hill Studios archives. The Second World War, the postwar period, and the increase of Texas record labels and recording studios. When World War II began, commercial recording in the United States slowed considerably.

In addition, a general strike by the American Federation of Musicians in 1942 avoided the labels from recording for 2 full years. The strike was contacted us to seek royalties from the record business for a fund to compensate musicians who lost work since of competitors from recorded music. Up until the strike, artists were paid only a flat cost per recording, and were not compensated when their records were offered, used jukeboxes, or broadcast on radio.

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Texan jazz musicians Tex Ritter . In between 1943 and 1949 more than eight countless these vinyl twelve-inch records were produced. The majority of the V-discs were damaged after the war, in keeping with a contract made with the AFM. After the war, the American recording market grew and altered. Innovations in products and electronics developed throughout the war were adapted to commercial recording.

Innovation obtained from antisubmarine acoustic listening equipment was adapted to audio recording and record production. The advancement of the first working transistor by The postwar years saw the increase of smaller sized local labels to fill the void left by the larger business. The cessation of area recording by the bigger labels also created a need for recording facilities in Texas.

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