Blind Skeleton's Three Tune Tuesday

This week on Three Tune Tuesday, Boneapart shares three of his all-time favorite records: the exotic fox trot “Egyptland” by the Six Brown Brothers, the barnyard mayhem of “Livery Stable Blues” by the Original Dixieland Jass Band, and the thunderous “Anvil Chorus” from Verdi’s Il Trovatore, performed by the New York Light Opera Company. Somehow, Suzanne and Boneapart spin a full hour of stories, history, and banter out of just these three tracks—proof that even the smallest playlist can open the door to big conversations about the birth of jazz, the rise of the saxophone, and opera’s unlikely place on early 78s.

To mark Labour Day, we trace a line from quiet graft to collective thunder: Stanley Kirkby’s “The Farmer’s Boy” (1912, Beka-Grand-Record) opens with rural work ethic and upward hope; Alan Turner’s “The Village Blacksmith” (Victor) hammers out craft pride and debtless independence; and Chaliapin’s “Dubinushka” (HMV DA 621, 1924) lifts a hauling chant into a rallying cry. In our unscripted meander we dip into the holiday’s origins, swap label lore (Beka’s Berlin–London pipeline, Victor quirks, HMV’s red-label sheen), and let three sides carry the week from sweat and skill to solidarity.

This week on Three Tune Tuesday, we’re taking a trip across borders with an “International Relations” theme — but not the kind fought with guns and flags. Instead, we follow how early 20th-century popular music imagined, borrowed, and sometimes outright distorted the sounds of “foreign” places. From the faux-exotic fox-trot of Hindustan (1918), to the heartfelt Latin American cry of Ay, Ay, Ay (1920), to the global journey of La Paloma (1902) — one of the first true international pop songs — we explore how music both connected cultures and flattened them into stereotypes. It’s a story of whitewashing, longing, and cross-cultural love, told through three spins of the shellac.

This week’s Three Tune Tuesday isn’t about concert halls or high culture. It’s about the tunes we first met through Bugs Bunny in drag, Elmer Fudd in a horned helmet, and Daffy Duck pounding a piano. Music we learned from cartoons.

This week on Three Tune Tuesday, we’re marching to a different beat — and it’s definitely not Sousa’s. We’ve lined up three bold, cheeky, and slightly irreverent marches that trade rigid patriotism for a wink and a grin. From the circus-crazed chaos of Entry of the Gladiators, to the clapping, stomping revelry of Radetzky March, and finally the sly, end-of-the-parade strut of The Gladiator’s Farewell, these tunes prove that a march doesn’t have to salute the regime — sometimes it can just laugh in time to the music.

This week on Three Tune Tuesday, we dive into the world of Sousa marches — not just as music, but as cultural artifacts. From the bold nationalism of The Stars and Stripes Forever to the disciplined dignity of Semper Fidelis, and finally to the unexpectedly comedic afterlife of The Liberty Bell, we explore what marches were meant to do, who they were meant to move, and how their meanings have shifted over time. It's a journey through patriotism, power, and the strange ways symbols evolve — all in three tunes.

This week on Three Tune Tuesday, we tip our hats (and rattle some cages) with a theme that’s long overdue: Disobedient Women. From flappers and vaudeville queens to blues legends who lived out loud, we spin three songs that chart a quiet revolution—women stepping out, speaking up, and refusing to be small. You’ll hear about Rebecca, who came back from Mecca with a scandalous new spirit; Eva Tanguay, who just flat-out didn’t care; and Ma Rainey, who shattered every mold with a song too bold for her time. It’s satire, song, and side-eye for the patriarchy—and we’re not sorry.

This week on Three Tune Tuesday, we turn our ear to the outsiders — the wanderers, the exiled, and the forgotten. From a lonesome American drifter to a Siberian prisoner and a mother mourning her lost son, these early recordings echo with the voices of those who don’t quite belong. Whether cast out, worn down, or simply left behind, each song carries the weight of life on the margins. Join us for three vintage tracks that ask: who gets to belong, and who gets left out in the cold?

This week on Three Tune Tuesday, we celebrate Rebellious Laughter — the kind that exposes ego, hypocrisy, and the absurdity of social masks. Our three tunes come from the early 1900s, but their targets feel timeless. First up, “I Love Me (I’m Wild About Myself)” is a vanity-fueled romp that skewers self-obsession with a wink and a waltz. Then, Bert Williams delivers “Nobody”, a quietly brilliant satire about being forgotten, ignored, and expected to keep smiling — a song as relevant now as it was in 1906. We close with “He Goes to Church on Sunday”, Billy Murray’s cheerful takedown of moral hypocrisy, where showing up in a pew is enough to excuse a week of bad behavior. Together, these songs remind us that joy can be a form of resistance — especially when it calls out the nonsense with a grin.

This week on Three Tune Tuesday, we’re rolling up our sleeves and diving into songs of sweat, steel, and solidarity. From the pounding drills of Irish railroad workers, to the rousing toasts of weary students, to the thunderous celebration at the forge, these tunes remind us that hard work is a universal rhythm. Whether it’s toil for wages or the shared struggles of daily life, today’s set spans borders and centuries—but every song rings with the sounds of labor and perseverance.

This week on Three Tune Tuesday, we celebrate freedom with three pre-1925 gems. “The Canadian Guns” brings a blast of patriotic pride, echoing Canada’s military legacy. “Take Me Out to the Ballgame” captures everyday liberty through baseball’s simple joy. And “Canadian Capers,” a jaunty foxtrot, dances us into the upbeat spirit of postwar freedom. From marching bands to jazz bands, it's a brisk stroll through North American liberty in sound.

In this episode of Three Tune Tuesday, we dive into songs that didn’t mean the way we mean them today. Each tune started with a clear intent—mockery, freedom, defiance—and then history took the wheel. “Yankee Doodle” was a British joke that became an American anthem. “Swing Low, Sweet Chariot” was a coded cry for liberation, now sung in sports arenas. And “The Battle Cry of Freedom” was a Union rallying song, rewritten by Confederates with the same melody. Through these three tracks, we explore how music travels—across time, across causes, and sometimes across the line of its original meaning.

We're celebrating Father's Day this week! Boneapart and Yulia spend the week talking about dads, fathers, father figures, and, of course, music!

In response to the U.S. Navy’s recent decision to rename ships originally honoring figures like Harriet Tubman and Harvey Milk, this episode of Three Tune Tuesday—“Erased but Not Forgotten”—features three pre-1925 records that speak louder than silence. With non-English and racially coded titles, La Paloma, The French Trot, and Darktown Strutters’ Ball serve as melodic rebukes to a whitewashed vision of history. These songs, recorded by Mexican, multicultural, and Black artists, reflect the true roots of American music and the deep legacy of diversity that no government directive can erase.

We're celebrating Billy Murray's birthday this week! We have three songs, ranging from Patriotic for Memorial Day, to Americana, and just plain old fun.

UntitledThis week on Three Tune Tuesday, we raise the curtain on a genre often dismissed as dusty and elitist — but trust us, opera’s got bite. We're diving into arias that hit like pop ballads, thrill like thrillers, and joke like vaudeville.You’ll hear:John McCormack’s tender take on Puccini’s La Bohème — a poet’s love story set in bohemian Paris.Enrico Caruso’s swaggering rendition of La donna è mobile — a courtly banger full of charm and cynicism.Titta Ruffo’s show-stopping Largo al factotum — the operatic equivalent of shotgunning an espresso and winking at the camera.These recordings are over 100 years old, but the drama, flair, and emotion still ring out loud and clear. So whether you're new to opera or just like your tenors vintage, come join us for a little love, a little betrayal, and a lot of vibrato.

A cranky farmer, a striking worker, and a gospel quartet walk into the 20th century—and come out swinging.From labor unions to hymnbooks, we're marching to the beat of righteous resistance.

It's time to celebrate! There was global pushback this week against the rising tide of extremism and fascism, and we are here to celebrate!

UntitMarcus Aurelius turns 1,904 this week, and we’re celebrating with three pre‑1925 shellac gems that trace a Stoic hero’s journey—from public revolt, through reflective calm, to unbreakable inner resolve.led

This week on Three Tune Tuesday, we step gently into the long, slow resistance of endurance. Against a backdrop of political erosion and cultural fatigue, we turn to three early 20th-century recordings that whisper instead of roar — songs that offer spiritual grounding, forward momentum, and the healing power of shared memory. From a parlor hymn of self-realignment to a Highland traveler's ballad, and finally to a balm born of Black spiritual resilience, this episode is for anyone who’s felt like giving up… and decided to sing instead. Featuring Olive Kline & Elsie Baker’s 1922 duet of “Come, Thou Fount of Every Blessing”, Robert Murray’s 1924 journey along “The Road to the Isles” (Aco Records), and the 1914 recording of “There Is a Balm in Gilead” by the Fisk Jubilee Quartet.

This week on Three Tune Tuesday, we crank up the victrola and tune into the timeless spirit of defiance—not just as a reaction, but as a rhythm pulsing through American history. From the railroad tracks to the dance halls, from the front lines of war to the backrooms of resistance, defiance has always had a soundtrack—and tonight, we’re dropping the needle on three of its most unforgettable grooves.

This week on Three Tune Tuesday, we slip on banana peels and land squarely in the middle of a jazz-fueled circus. From barking blues to piano-pounding hijinks, these three tunes capture the wonderfully unhinged spirit of early jazz and novelty records that laughed their way through the phonograph horn.You’ll hear:A musical riot from the Six Brown Brothers, where Aunt Dinah’s daughter Hannah unleashes absolute piano pandemonium.A howlin’, growlin’ romp courtesy of the Original Dixieland Jazz Band in “Bow Wow Blues.”And the clarinet chaos of Wilbur Sweatman, who gleefully sidesteps the doggone blues with a grin and a toot.So take off your serious face and put on your dancing shoes—this one’s for the jesters, the jazzers, and anyone who’s ever tapped their toe to a barking saxophone.

Three songs from before 1925, stitched into a fierce, unflinching reflection on power, resistance, and the long memory of music.️ Warning: Tramp! Tramp! Tramp!️ Exposure: Old Hundredth Action: La MarseillaiseTyrants always forget: the people sing.We sang in chains.We sang in revolutions.We’re still singing now.

Last week was Harriet Tubman Day in the United States. Harriet Tubman was a former slave who led dozens of other slaves to freedom using the Underground Railroad. In this episode we talk about some of the songs they used both as hidden messages as well as songs of hope.

We're celebrating International Women's Day with three songs from some great female composers. We’ve got a vaudeville siren, a Nordic mystic, and a Parisian virtuoso. Tune in and listen!

A recent death in the family inspired this week's theme of family. Join Boneapart and Yulia as they discuss the issues, share some songs of love and sorrow and, ultimately, end on a humourous note.

Black History Month continues at Blind Skeleton with a discussion of ragtime music, it's origins, and it's influence on the upcoming music style known as "jazz."

It's Black History Month! Boneapart and Yulia begin to celebrate by sharing and discussing some very early Blues by black women, including the first ever recording of a blues some by a black woman!

Celebrating a feline loss, Boneapart and Yulia talk about the history of "cats" and share some cat-inspired pre-1925 music.

Boneapart and Yulia conclude their monthlong examination of Rights and Responsibilities with a discussion around Civic Duty as seen through the lens of 100+ year old songs.

Boneapart and Yulia continue their reflections on rights and obligations with a discuss of Women's and Universal Suffrage as seen through the lens of three songs over 100 years old.

Join Boneapart and Yulia this week as they play, and discuss, three songs based on the concept of rights and human rights.

Boneapart and Yulia ring in the New Year with an American History inspired Three Tune Tuesday. Come listen, laugh, learn, and enjoy some old music with them.

It was New Years Eve! Boneapart and Yulia had a live show. This is it!

It's Christmas Eve! Come have a listen as Boneapart and Yulia play some classic Christmas tunes.

This week on Three Tune Tuesday, we’re celebrating the magic of Christmas with a festive selection of vintage recordings from the early 20th century. Featuring the elegant charm of Marek Weber Trio’s Song of Christmas, the lively medley of Christmas Gems by The Black Diamonds Band, and the serene beauty of Robert Gayler’s Christmas Bells, this episode takes you on a nostalgic journey through the sounds of the season. Along the way, we explore the historical and cultural significance of these recordings, reflecting on how they brought families and communities together during the holidays. From joyful melodies to peaceful reflections, this special episode captures the timeless essence of Christmas past.

This week's Yule-themed episode of Three Tune Tuesday invites listeners on a magical journey into the traditions and spirit of Yule, illuminated through the enchanting melodies of the acoustic era. Hosted by Boneapart in his digital cottage by the hearth, the episode explores themes of light, renewal, and togetherness through three carefully curated songs: Fred Douglas's celestial Aurora Borealis (1921), Gustav Lange’s serene Pure as Snow (1913), and the harmonious Yule-ride Echoes (1923) by the Holy Trinity Male Quartette. As these timeless tunes crackle to life, Boneapart masterfully weaves their historical and cultural significance into the rich tapestry of Yule celebrations, creating an immersive and heartwarming experience.

In this week’s special holiday episode of Three Tune Tuesday, we take you on a nostalgic journey through A Wax Cylinder Christmas, celebrating the festive sounds of the late 19th and early 20th centuries. Featuring three enchanting recordings—Frank S. Mazziotta’s lively piccolo performance of "Sleighride" (1898), the Nebe-Quartett’s harmonious "Christmas Carol Medley" (1910), and Albert Quesnel’s heartfelt rendition of "Cantique de Noel" (1914)—this episode brings the joy and wonder of vintage holiday music to life. With historical insights and the warmth of timeless traditions, it’s a perfect way to relive the magic of Christmas past.

Step back in time with this week’s Three Tune Tuesday as we explore the Songs of the Stage—the music that captivated audiences in vaudeville halls, theaters, and beyond during the early 20th century. From the ragtime humor of "Hello! Ma Baby" to the nostalgic charm of "In the Good Old Summertime" and the bittersweet beauty of "My Gal Sal," this episode celebrates the magic of live performance and the innovations that brought it into homes through early recording technology. Join host Boneapart for a journey through history, culture, and timeless melodies that defined an era.

This week on Three Tune Tuesday, join your host Boneapart for a journey into Americana, exploring the rich and diverse music that helped shape the cultural identity of a growing nation. From the adventurous optimism of “Oh Susanna” performed by the Great White Way Orchestra, to the syncopated brilliance of Vess L. Ossman’s rendition of “Maple Leaf Rag,” and the profound hope of “Swing Low, Sweet Chariot” by Lieut. Jim Europe’s Four Harmony Kings, each recording offers a glimpse into the spirit of early America. Discover how these timeless melodies reflect the resilience, creativity, and dreams of a nation in transition, and celebrate the enduring power of music to tell our collective story.

In this week’s episode of **Three Tune Tuesday**, we explore the enduring theme of freedom through the lens of early 20th-century music, marking Remembrance Day, Armistice Day, and Veterans Day. Our selections—*“Over There,” “Home Sweet Home,”* and *“Take Me Out to the Ball Game”*—each reveal a unique aspect of freedom: the courage to fight for it, the love of home that makes it worth defending, and the simple joys it brings. Together, these songs offer a heartfelt tribute to the sacrifices made in its name and the everyday blessings it affords.

Join Boneapart for a nostalgic journey back to the dawn of recorded music as Three Tune Tuesday explores the world of wax cylinders. We'll be spinning selections from Verdi's Il Trovatore, Mozart's The Magic Flute, and Balfe's The Bohemian Girl, all captured on these delicate relics of the past. Discover the stories behind the music, the singers, and the technology that brought these sounds to life over a century ago.

Gather 'round the digital hearth and prepare to be chilled to the bone! Three Tune Tuesday is a weekly podcast where your skeletal host, Boneapart, spins haunting melodies from the 1910s and '20s. Each episode explores a different theme, delving into the history, culture, and technology behind these vintage tunes. From ghostly waltzes to devilish dreams, we'll unearth the spooky sounds of Halloween past and explore the evolving spirit of this haunting holiday. So, dim the lights, grab your favorite brew, and join us for a spine-tingling journey through the forgotten corners of early recorded music.

In this week’s episode of Three Tune Tuesday, we explore the diverse catalog of Edison Records, one of the pioneering forces in early 20th-century recorded music. Our journey begins with the sweeping orchestral sounds of Wagner’s Die Meistersinger Overture, performed by the American Concert Orchestra, which we’ll experience in two parts. Between these grandiose pieces, we’re treated to the sentimental charm of Walter Scanlan’s Sometime, a popular vocal hit from the 1920s. From classical grandeur to romantic ballads, this episode showcases the range of music that captivated early phonograph listeners and helped shape the world of recorded sound.

Journey back to 1920 with us on #ThreeTuneTuesday! We’re exploring Pathé Records and their groundbreaking vertical-cut recording method. Discover how technology shaped the sounds of a century ago.

Step into our time machine and join us for a musical journey to the early 20th century! This week's Three Tune Tuesday explores the fascinating story of Emerson Records. From its innovative "universal cut" records to its diverse catalog featuring jazz, opera, and early country music, we'll discover how this short-lived but influential label shaped the sound of the Roaring Twenties.

This episode of Three Tune Tuesday delves into the world of Banner Records, a pivotal player in the early 1920s music industry. Through three carefully selected songs from Banner's catalog, the podcast explores how this budget label democratized access to popular music. The journey begins with "In Our Parlor on a Sunday Night" (1923), illustrating the importance of parlor music in American homes. It then moves to the lively dance halls with "Ritzi Mitzi" (1923), showcasing the rise of dance music during the Roaring Twenties. The musical exploration concludes with Irving Berlin's "Lady of the Evening" (1922), demonstrating Banner's strategy of covering works by renowned composers. Throughout the episode, listeners gain insights into Banner Records' innovative business model, its impact on spreading popular music across diverse demographics, and its significant contribution to shaping a shared national musical culture in 1920s America. The podcast also touches on the broader context of the music industry at the time, highlighting how Banner's budget-friendly approach made quality recordings accessible to a wider audience, forever changing the landscape of recorded music.

Step back in time to the Roaring Twenties, when a upstart record label called Cameo shook the foundations of the music industry. In this episode of Three Tune Tuesday, we'll explore how Cameo Records revolutionized the market with their 50-cent records, making music accessible to the masses during the Jazz Age. From hot jazz tunes to Broadway hits, we'll sample Cameo's diverse catalog and uncover how this budget-friendly label captured the sounds of a nation in transition. Join us as we drop the needle on three vintage Cameo recordings and discover the fascinating story of a company that helped democratize music in America. It's a tale of innovation, adaptation, and the power of affordable tunes in the face of industry giants.

In this episode of “Three Tune Tuesday,” we explore the fascinating early years of Okeh Records, from its founding in 1916 to its influential position in the music industry by 1922. Through three carefully selected recordings, we trace Okeh’s evolution and its significant impact on American popular music. We begin with the “12th Street Rag” by the Rega Dance Orchestra (1920), which captures the transition from ragtime to early jazz and Okeh’s role in popularizing dance music. Next, we discover a young Artie Shaw in “Fee Fi Fo Fun” (1922), highlighting Okeh’s knack for spotting future talent and adapting to changing musical trends. Finally, we delve into the sophisticated world of hotel orchestras with Vincent Lopez’s “Deedle Deedle Dum” (1922), showcasing Okeh’s diverse catalog and marketing strategies. Throughout the journey, we explore Okeh’s innovative approaches, including their groundbreaking “race records” series and their ability to capture a wide range of musical styles, cementing their place as a pivotal force in shaping the soundscape of early 20th century America.

In this episode of "Three Tune Tuesday," we embark on a captivating journey through the early years of Paramount Records, from 1917 to 1920. We explore the label's unexpected origins as a side venture of the Wisconsin Chair Company, tracing its evolution from pressing classical records to becoming a significant player in the burgeoning popular music scene. Through three carefully selected recordings - the Blue Danube Waltz by the Paramount Symphony Orchestra (1917), Träumerei performed by Samuel Gardner (1918), and La Veeda by the Newport Society Orchestra (1920) - we witness Paramount's transformation. These selections showcase the label's initial focus on classical music, its technical improvements in recording, and its shift towards the popular dance tunes that would set the stage for its later significance in blues and jazz. Along the way, we delve into the historical context of each recording, examining how Paramount's journey reflected and influenced the changing musical landscape of early 20th century America.