Instruct: Given a question, retrieve passages that can help answer the question.
Query: What was the first blues recording ever made?
City or urban blues styles were more codified and elaborate, as a performer was no longer within their local, immediate community, and had to adapt to a larger, more varied audience's aesthetic.[75] Classic female urban and vaudeville blues singers were popular in the 1920s, among them "the big three"—Gertrude "Ma" Rainey, Bessie Smith, and Lucille Bogan—and Victoria Spivey. Mamie Smith, more a vaudeville performer than a blues artist, was the first African American to record a blues song in 1920; her second record, "Crazy Blues", sold 75,000 copies in its first month.[76] Ma Rainey, the "Mother of Blues", and Bessie Smith each "[sang] around center tones, perhaps in order to project her voice more easily to the back of a room". Smith would "sing a song in an unusual key, and her artistry in bending and stretching notes with her beautiful, powerful contralto to accommodate her own interpretation was unsurpassed".[77]
Gertrude "Ma" Rainey (1886–1939), known as the "Mother of the Blues", is credited as the first to perform the blues on stage as popular entertainment when she began incorporating blues into her act of show songs and comedy around 1902. New York-based cabaret singer Mamie Smith recorded "Crazy Blues" in 1920, which sold over 75,000 copies. Smith became known as "America's First Lady of the Blues". In 1920, the vaudeville singer Lucille Hegamin became the second black woman to record blues when she recorded "The Jazz Me Blues". Ethel Waters, Alberta Hunter, Mary Stafford, Katie Crippen, Edith Wilson, and Esther Bigeou, among others, made their first recordings before the end of 1921. These blues recordings were typically labeled as "race records" to distinguish them from records sold to white audiences. Nonetheless, the recordings of some of the classic female blues singers were purchased by white buyers as well. Marion Harris became one of the first white female singers to record the blues.
"Blue Raiders replied with Cohen running in for his first ever touchdown from 10 yards, before defensive end Nick Barker, not wanting to be left out of the scoring party, recovered a fumble and returned it to score the Blue Raiders' first-ever defensive touchdown to put them out of sight. Chris Gray made his first and only ever Interception and ran the ball back 15 yards before being tackled to stop another Pathfinders attack."
Pitchfork named "Pink Turns to Blue" one of the 500 best songs since punk rock began. In its countdown of the 200 best songs of the 1980s, Treble magazine ranked the song #143. Treble's Chris Karman justified the ranking by noting that the song "is the perfect encapsulation of what made Hüsker Dü stand out from their peers." By being "one of (the) first bands to truly mix hardcore's serrated riffs with pop song smarts, Hüsker Dü essentially provided a blueprint for pop-punk's evolution." He criticized the recording as being "a little thin, but everything else about it, right down to its melancholic tone, is practically a perfect prediction of the approach that would be adopted by many early '90s alternative bands." Toby Creswell said "Pink Turns to Blue" was one of the 1001 greatest songs ever recorded.
She released her first single, a cover of Barrett Strong's "Money (That's What I Want)", in 1962. "I've Really Got the Blues" was the single's B-side. Shortly thereafter, the same label released an alternate version of the single on which "Money" was relegated to the B-side, while a different recording of "I've Really Got the Blues", with a few revised lyrics and the alternate title "Have You Ever Had the Blues?", became the A-side.
Charters had for years been researching the history of jazz, but in the 1950s he also began to study the blues. Noticing that his copy of the bluesman Robert Johnson's recordings were recorded in San Antonio, Charters set out for Texas in 1953 to discover what he could about Robert Johnson and another of his favorite musicians, Blind Willie Johnson. With Charters's search for Robert Johnson began his years of doing field recordings (initially for Folkways Records throughout the United States and then in the Bahamas in 1958, where he made the first recordings of Joseph Spence). His 1959 recordings of the Texas bluesman Lightnin' Hopkins proved instrumental in Hopkins's rediscovery. Also in 1959, Charters published his influential book "The Country Blues", the first history of blues and an absorbing account of his search for the bluesmen themselves, with a companion album of the same title to accompany it.
In 2003, Holmes recorded his first album over the course of three days at the Pluto Plantation for Shade Tree Records. It was a blues label started by Peter Lee, although the company folded before it ever released the recordings. Then in October 2005, Jeff Konkel visited the Blue Front Cafe and returned on November 17, 2005, to record Holmes. Those recordings were released in 2006 as "Back to Bentonia" on CD as Holmes's debut release and the first release by Broke and Hungry Records. The album featured some traditional Bentonia Blues songs as well as original compositions. Holmes was awarded two "Living Blues" Awards for "Back to Bentonia", including Best Debut Blues Album and Best Acoustic Blues Album. Konkel was awarded Producer of the Year for 2006.
Ed Andrews ( 1920s) was an American blues singer and guitarist, who made what are considered to be the first commercially-released country blues recordings, in 1924, some three years before such releases became commonplace. 
The Original Dixieland Jass Band (ODJB) was a Dixieland jazz band that made the first jazz recordings in early 1917. Their "Livery Stable Blues" became the first jazz record ever issued. The group composed and recorded many jazz standards, the most famous being "Tiger Rag". In late 1917 the spelling of the band's name was changed to Original Dixieland Jazz Band.
He married and moved to Chicago before 1921. He made his first recordings in 1926, for the Vocalion label. These were among the first recordings to be made of a so-called "guitar evangelist". His recordings of religious songs under the name Blind Joe Taggart included "The Storm Is Passing Over", "I Will Not Be Removed", "Take Your Burden to the Lord", and "I Wish My Mother Was On That Train". As well as recording solo, he recorded duets with his wife Emma, and also recorded with James Taggart, presumed to be his son. Some of his recordings have been cited as having "traces of some of the earliest [blues] musical styles to have ever been recorded".
Brooks then approached Atlantic Records president Jerry Greenberg with the intent of having the "If Ever I See You Again" theme song and other songs from the film recorded by Roberta Flack (Flack has stated that she had been sent the demo for "You Light Up My Life" but had not had a chance to listen to it before the Debby Boone recording was made). Flack would eventually describe "If Ever I See You Again" as "a song I couldn't stand" that Greenberg insisted she record: "I had a very clever lawyer who made a huge money deal for [my recording] that song": Flack recorded "If Ever I See You Again" at A&R Recording Studios in New York City in a session produced by Brooks which also yielded Flack's versions of "Come Share My Love" and "When It's Over". With a track from Flack's 1977 "Blue Lights in the Basement" album: "I'd Like To Be Baby To You", as B-side, "If Ever I See You Again" was released as a single in 21 April 1978 - a month before the film's premiere - to debut the "Billboard" Hot 100 dated 20 May 1978 at #87 (the same chart ranked the "Blue Lights in the Basement" single: the Donny Hathaway duet "The Closer I Get to You" at its #2 peak for a second and final week).
The Blue Batters' breakout year was UAAP Season 68 (2005–06) when the team finished tied for 2nd place with a 7-3 record, setting the best win-loss record in its UAAP history. Up until 2011-12, this team was considered the strongest team ever assembled in its UAAP baseball history. In UAAP Season 74 (2011–12), the Blue Batters duplicated the win-loss (7-3) record and second-place finish of the Season 68 Blue Batters. They made the Final 4 as the second-seeded team with a twice-to-beat advantage and batted their way into the Finals for the first time in their UAAP history. They ended the season as runner-up after losing to NU in the Finals. In Season 75 (2012–13), Ateneo and NU met again for the championship. This time the Blue Batters got back at NU and won their first UAAP baseball title.
Ugly Side: An Acoustic Evening With Blue October is a live acoustic album by Blue October. It is their third live album, and eighth album overall. The album was recorded during a sold out three-day tour of Houston, Austin, and Dallas July 22–25, 2010 during which the band played two acoustic concerts each night (except in Austin). The song selections were made by Blue October drummer Jeremy Furstenfeld, who is credited as producer of the album. The band had talked about recording an acoustic album as early as 2004, but the concerts were the first ever full-length acoustic shows that the band had ever performed. The popularity of the acoustic concerts among Blue October fans resulted in the band deciding to perform a nationwide acoustic tour to support the release of the album.
From the late 1910s, there was an increasing demand for recordings by black musicians. In 1920, Mamie Smith was the first black woman to be recorded. In 1923, Rainey was discovered by Paramount Records producer J. Mayo Williams. She signed a recording contract with Paramount, and in December she made her first eight recordings in Chicago, including "Bad Luck Blues", "Bo-Weevil Blues" and "Moonshine Blues". She made more than 100 other recordings over the next five years, which brought her fame beyond the South. Paramount marketed her extensively, calling her the "Mother of the Blues", the "Songbird of the South", the "Gold-Neck Woman of the Blues" and the "Paramount Wildcat".
Although there were many recordings made of songs with blues in the title during the previous decade, this recording is considered a landmark as the first blues record ever issued. Another claimed that it was the first recording with a blues title by a black artist. It was ushered into the Grammy Hall of Fame in 1994.
Although highly regarded in Europe, the quartet felt they were not well enough known in America, so in 1986 they signed to record for Blue Note Records, for which they recorded "Breakthrough" (1986) and "Song Everlasting" (1987). Beginning the Blue Note contract with great hope of increased fame and success, as shown by the title of the first album, they became disillusioned by the poor availability of the two records. Although the power of their live concerts maintained their reputation as one of the most exciting groups ever seen, the music recorded for the Blue Note sessions was at first deemed "smoother" than on their European recordings, and took time to achieve the same high reputation.
In 1918, she replaced Esther Bigeou as the female star of the popular musical comedy "Broadway Rastus" in New York City. She made her only recordings in March and May 1921, a few months after the pioneering blues recordings by Mamie Smith. Brown recorded for Emerson Records, backed by the Jazz-Bo Syncopators, a band that included Ed Cox (cornet), Bud Aiken and Herb Flemming (trombones), Garvin Bushell (clarinet), Johnny Mullins (violin), and Lutice Perkins (drums). She only recorded four tracks – "Ever Lovin' Blues", "If That's What You Want Here It Is", "The Jazz Me Blues", and "Bad-Land Blues". They were then reissued under different names by other record labels: Maude Jones on Medallion Records, Fannie Baker on Oriole Records, and Mildred Fernandez on Regal Records.
Joshua Altheimer (May 17, 1910 – November 18, 1940) was an American pianist who is remembered for accompanying Big Bill Broonzy, Lonnie Johnson, Sonny Boy Williamson and others on influential blues recordings made in Chicago in the 1930s. He was described by Broonzy as "the best blues piano player I ever heard", and by blues historian Hugues Panassié as "the greatest blues pianist on records".
In addition to the importance of the "Nigger Blues" for being one of the first published blues songs and written by one of the first composers of twelve-bar blues, it was the first whose lyrics were in what would become the standard blues form used by the 1920s vaudeville performers and found in the folk blues songs collected and recorded in the 1930s. e.g.:
In what was described as a rebuilding process, the Roughriders began the Shivers and Barrett era with two consecutive last place finishes in 2000 and 2001, missing the playoffs in both years. In 2002, progress was being made as Saskatchewan made the playoffs for the first time since their 1997 Grey Cup run with an 8–10 record and a fourth-place finish. The team played in the East Semi-Final due to the crossover rule, playing in the eastern playoffs for the first time in their 90-year history, losing to their last playoff opponent, the Toronto Argonauts. The 2003 season saw the Roughriders earn their first winning record since 1994, finishing 11–7 and in third place, building optimism in a year where the franchise was hosting their second ever Grey Cup game. While the team played their longtime rival, the Winnipeg Blue Bombers, in the playoffs for the first time since 1975 and won, they lost the West Final to the eventual champion Edmonton Eskimos, missing a close chance to play in the Grey Cup at home.
According to Crayton, "Blues After Hours" was inspired by T-Bone Walker and developed while he was playing at the New Orleans Swing Club in San Francisco. During his first recording session for Jules Bihari, Crayton began to play the song and Bihari decided to record it. Crayton protested, saying that the song was unfinished. Bihari countered: "Play anything." "So I started playing and ideas just came. I was making T-Bone's stuff into what little I knew. That turned out to be one of the biggest records I ever had."
With the downturn in the popularity of female blues singers, beginning about 1933 and 1934, some of these artists began performing and recording what became swing blues. Singers like Lil Johnson, Memphis Minnie and Lucille Bogan started recording for the ARC group of cheaper labels and for Decca Records (after late 1934). Other 1920s female blues singers who later made swing blues records include Victoria Spivey, Ida Cox, and Bertha "Chippie" Hill.
The "Blue Moon" sale, according to David Bennett, the head of Sotheby's international jewellery division, set a record for the highest-ever price per carat and it made the diamond both the most expensive jewel ever sold at auction and the world's most expensive diamond, regardless of color.
Schofield has five studio albums and four live albums. The first of the live discs, "The Trio, Live" was recorded at the Bishop's Blues club at The Half Moon, Bishop's Stortford in 2004 and, funded and released by Richard Pavitt on his Nugene record label, gave the band their first breakthrough. The first studio album, "Siftin' Thru Ashes" was released in 2005. This album showcased Schofield as a songwriter, writing or co-writing eight out of eleven of the tracks. AllMusic called Schofield's approach "an enjoyable demonstration of what can happen when blues-rock and blues-jazz are united". The second live album, "Live at the Jazz Cafe!" was recorded at the London Jazz Cafe in April 2005, and was made available as a web only release. Schofield is one of only two living British artists to be given a four star (excellent) rating in the "Penguin Book of Blues Recordings".
Jefferson did what few had ever done before him – he became a successful solo guitarist and male vocalist in the commercial recording world. Unlike many artists who were "discovered" and recorded in their normal venues, Jefferson was taken to Chicago, Illinois, in December 1925 or January 1926 to record his first tracks. Uncharacteristically, his first two recordings from this session were gospel songs ("I Want to Be Like Jesus in My Heart" and "All I Want Is That Pure Religion"), released under the name Deacon L. J. Bates. A second recording session was held in March 1926. His first releases under his own name, "Booster Blues" and "Dry Southern Blues", were hits. Their popularity led to the release of the other two songs from that session, "Got the Blues" and "Long Lonesome Blues", which became a runaway success, with sales in six figures. He recorded about 100 tracks between 1926 and 1929; 43 records were issued, all but one for Paramount Records. Paramount's studio techniques and quality were poor, and the recordings were released with poor sound quality. In May 1926, Paramount re-recorded Jefferson performing his hits "Got the Blues" and "Long Lonesome Blues" in the superior facilities at Marsh Laboratories, and subsequent releases used those versions. Both versions appear on compilation albums.