Podcasts about mambo jambo

Dani Nel.lo, Ivan Kovasevitz, Anton Jarl y Dani Baraldés. Ellos son Los Mambo Jambo. Cuatro individuos que decidieron dedicar su vida a la música, pasando por decenas de proyectos, viviendo de escenario en escenario. Charlamos con ellos sobre sus trayectorias y elecciones vitales antes de disfrutar de su concierto en el marco de la III edición del Amua Festival de Hondarribia. (Foto del podcast por Pablo Gómez) Playlist; LOS MAMBO JAMBO “Contra las cuerdas” (Exotic Rendezvous, 2021) LOS REBELDES “Rebelde con causa” (Rebeldes con causa, 1986) TANDOORI LENOIR “Rainbow riot” (ST, 2002) THE NU NILES “Tramposo y mentiroso” (Sin rendición, 2009) DANI BARALDÉS AND THE XXX BAND “La picada del mosquito woodoo” (ST, 2015) BIG MAMA and THE BLUES MESSENGERS “Everyday I have the blues” (Blues Blues Blues, 1995) BERNAT FONT TRIO “Steeplechase rag” (Shout, 2010) RAMBALAYA “When your chickens come home to roost” (Only in my dreams, 2023) DANI NEL.LO “Mr Yo” (Noir, 2010) BARCELONA BIG BLUES BAND feat MIRYAM SWANSON “That’s why I cry” (2015) LOS MAMBO JAMBO “El hombre y la tierra” (2016) Escuchar audio

Recolecta de novedades de nuestro rocknroll.Playlist;(sintonía) MAMBO JAMBO “Exotic rendez-vous” (Exotic rendezvous, 2021)DOCTOR EXPLOSION “Sin hablar” (Música grabada, saltos y cánticos, 2003)DOCTOR EXPLOSION featuring JAIME URRUTIA “Ella no eres tú” (single 2023)JAIME URRUTIA “Lo que no está escrito” (Lo que no está escrito, 2010)DOCTOR EXPLOSION “I stand accuse” (Música grabada, saltos y cánticos, 2003)Versión y Original; TONY COLTON and THE BIG BOSS BAND “I stand accuse” (1965)ESCOMBROS “Contrapa” (Por alusiones, 2023)RADIADORES “Moriré más por ti” (adelanto del álbum “Sorbos de electricidad”)ALVINAS “Respira” (ST, 2023)LES SMOGGERS “Please never change” (7’’,Disques Rogue, 2023)FÉMUR “No quiero ser tú” (Gritan, 2023)THE MOONSHAKERS “Pantano” (Monstrencas Vol.1 EP, 2023)SONIC TRASH “Serendipia” (Split, 2023)LOJO and THE MOJOS “Emerald dreams” (Emerald dreams EP, 2023)ARIZONA BABY “Lonely road” (Salvation, 2023)THE LIMBOOS “The guest” (Adelanto próximo álbum)PABLO SOLO “Slow dancing” (Slow dancing EP, 2023) Escuchar audio

Unos jovencísimos Howlin’ Jaws se dieron a conocer hace una década dentro del circuito europeo del rockabilly. El trio parisino reaparece ahora con un nuevo álbum, “Half asleep, half awake”, con el que se adentran en nuevos territorios musicales, más sixties y experimentales pero sin olvidar la energía y la melodía. Entre el resto de novedades destacamos el single de regreso de los gallegos Fogbound o el primer y sorprendente avance del próximo álbum de The Limboos. Playlist; HOWLIN’ JAWS “Mirror mirror” (Half asleep, half awake, 2023) HOWLIN’ JAWS “Through my hands” (Half asleep, half awake, 2023) HOWLIN’ JAWS “Lost songs” (Half asleep, half awake, 2023) FOGBOUND “Garden of the unseen” (single, 2023) THE LIMBOOS “The guest” (adelanto próximo álbum) THE HECK “Detention” (single, 2023) WEIRD OMEN “Frustration” (ST, 2023) MAMBO JAMBO “El gran ciclón” (Exotic rendezvous, 2021) THE CAPELLAS “Take your chance” (Take your chance with… EP, 2023) THE COUNTRY SIDE OF HARMONICA SAM “I’m in deep in love” (Back to the blue side, 2023) THE HIVES “Crash into the weekend” (The death of Randy Fitzsimmons, 2023) GUITAR WOLF “High schooler action” (Dead rock, 2007) NOAH and THE LONERS “Protest anger” (single 2023) AMYL and THE SNIFFERS “Don’t fence me in” (Comfort to me, 2021) JOHNNY MOPED “Lockdown boy” (Damaged Goods, 2023) JUNIPER “I was thinking about you” (single, 2023) ADIOS AMORES “Ese lugar” (El camino, 2023) Escuchar audio

Sintonía: “¡Viva Sapo!” - Los Mambo Jambo Arkestra “El gran ciclón” y “Dizzy” - Los Mambo Jambo Arkestra; “Sticks & Stones” - Di Anne Price; “Wang Dang Doodle” - Koko Taylor; “Fuego cruzado” - Los Mambo Jambo Arkestra; “Sit Down Servant” - Mike Farris; “The Last Shimmy” - Los Mambo Jambo Arkestra; “Spanish Rice” - Clark Terry & Chico O’Farrill; “Road Race” - Los Mambo Jambo Arkestra Todas las músicas seleccionadas y presentadas por Dani Nel-Lo Escuchar audio

Torna el format XXL de Los Mambo Jambo. La banda liderada per Dani Nel

Torna el format XXL de Los Mambo Jambo. La banda liderada per Dani Nel

El saxofonista Dani Nel-lo y el contrabajista Ivan Kovacevic nos visitan para presentar el nuevo trabajo de Los Mambo Jambo Arkestra, esa formación en donde el cuarteto barcelonés se convierte en una big band de dieciséis músicos. En “El Gran Ciclón” rescatan canciones de sus últimos álbumes y singles para llevarlas a esa nueva dimensión de exponencial poderío sónico. (Fotos del podcast por Noemí Elías; Mambo Jambo Arkestra) Playlist; MAMBO JAMBO ARKESTRA “Fiesta en el Motel” (El gran ciclón, 2023) MAMBO JAMBO ARKESTRA “El gran ciclón” (El gran ciclón, 2023) MAMBO JAMBO ARKESTRA “Dizzy” (El gran ciclón, 2023) MAMBO JAMBO ARKESTRA “Cayo Diablo” (El gran ciclón, 2023) MAMBO JAMBO ARKESTRA “Roadrace” (El gran ciclón, 2023) MAMBO JAMBO ARKESTRA “Fuego cruzado” (El gran ciclón, 2023) MAMBO JAMBO ARKESTRA “El grito” (El gran ciclón, 2023) MESSER CHUPS “Cadabra box Pandora strip” (Night rider EP, 2023) SUPERTUBOS “Magnetika” (The fourth drive, 2023) THE ROUTES “Everybody’s happy nowadays” (Reverberation addict, 2023) Versión y original; THE BUZZCOCKS “Everybody’s happy nowadays” (1979) THE BOMBORAS “The good the bad and the single fin” (Songs from beyond, 2023) Escuchar audio

Brebaje sonoro elaborado con una selección de discos “recientes” con sabor a rocknroll y efecto quitapenas. Playlist; (sintonía) LOS CORONAS “Rockaway surfers” MING CITY ROCKERS “All I wanna do is waste my time with you” BRAD MARINO “C’mon c’mon c’mon” DIRTY FENCES “Teen angel” THE LOOKERS “Pictures on the wall” THE PACIFICS “Cryin’” TOMMY and THE ROCKETS “Beer, fun and rocknroll” THE OGRES “Crouch” BARRENCE WHITFIELD and MAMBO JAMBO “Shot down” THE MIDNIGHT KINGS “Cmon and swim” MFC CHICKEN “I couldn’t say no” THE WOOGLES “Nothing more to say” THE OUTTA SITES “Outta mind” ATOM RHUMBA “Voy cableado” THE SCHIZOPHONICS “Rat trap” THEE WYLDE OSCARS “Funny as a heart attack” BLACK LIPS “Rumbler” FLAMINGO TOURS “Clap your fingers” LUCY and THE RATS “Real thing” THE FLESHTONES “Stupid ol’ sun” Escuchar audio

Desde las sombras más fresquitas del Sótano cocinamos un menú de novedades que arranca con una de las mejores party bands a este lado de la Vía Láctea, los ingleses The Fuzillis, que ya tienen en la calle su nuevo álbum “Grind a Go Go Vol. 2”. Playlist; THE FUZILLIS “Tacoma” (Grind a Go Go Vol. 2, 2023) THE FUZILLIS “The Gee Gee Walk” (Grind a Go Go Vol. 2, 2023) THE FUZILLIS “Bule Bule” (Grind a Go Go Vol. 2, 2023) HOWLIN’ RAMBLERS “Drunken hearted man” (Drunken hearted man) MAMBO JAMBO ARKESTRA “Fiesta en el motel” (single, 2023) MOJO MANTRA “Willie Mae Blues” (single, 2023) THE BARRERACUDAS “Baby baby baby” (Nocturnal missions, 2011) KURT BAKER “Anchor’s up” (single, 2023) MUCK AND THE MIRES “Cool imposter” (single, 2023) THE TRIPWIRES “Do it some more” (Do it some more, 2023) THE TRIPWIRES “Shuffle in the gravel” (Are knife, fork, spoon & plate in good party tape, 2023) Versión y original; YOUNG JESSE “Shuffle in the gravel” (1957) DOCTOR EXPLOSION “Soy un truhán soy un señor” (single, 2023) FUNDACIÓN FRANCISCO FRANKENSTEIN “El verano ya llegó” (single, 2023) CHRIS ISAAK “There she goes” (Forever Blue, 1995) Escuchar audio

En Música de Contrabando revista diaria de música en Onda Regional de Murcia(orm.es; 23,00h a 01,00h). Ozzy Osbourne anuncia su retirada de los escenarios. And Also The Trees visitan por primra vez nuestro país en marzo. Explosions In The Sky pasarán este verano por el Paredes de Coura. The Smile anuncian Europe: live recordings 2022 , ep exclusivamente en vinilo. Shana Cleveland pone la perfecta banda sonora a la soledad del desierto con " A ghost". “La Amiga De Mi Amiga” es el debut cinematográfico de Zaida Carmona (sí, la que cantaba “La Llamada” junto a PAPA TOPO en la película “La Maldita Primavera” de Marc Ferrer). La banda sonora incluye canciones de artistas del sello Elefant (Carlos Berlanga). Whitney acaban de anunciar una gira estadounidense y lo aderazan recuperando For A While. La elección del adelanto de Arde Bogotá no podía haber sido más acertada . Anuncian fecha el 8 de junio en la Plaza de Toros, donde ya tuvieron su primer bautismo a lo grande en plena pandemia. Leal Neale anuncian Stars eaters Delight subiendo los bpm's. Veneziolan lanza tercer single y videoclip con Hacerme hacer. El Cuarteto irlandés Lankum anuncian False Lankum con la emoción tradicional de go dig my grave. Big Up Lanzadera presenta nuevas entregas de Sissy. Los madrileños Featherweight hablan claro en su primer tema en español, No estás. Volvemos a caer rendidos con LO siento, nuevo single de Brigitte Laverne.Heather Woods Brderick anuncia Labyrinth, su nuevo disco. Fruit Bats anuncia A River running to your heart con el fulgor country pop de su nuevo single. Algiers colaboran con Samuel T Hearing (Future Islands) en "I Can't stand it, intenso lamento de blues, electrónica y gospel. Mantra nos muestra otro adelanto de lo que será su disco debut, del que ya acumulan más de 5 millones de streams de sus singles publicados hasta la fecha. Apartamentos Acapulco vuelve piando fuerte con El Primero. Con Belen Unzurrunzaga descubrimos las claves del evento benéfico Undia X Martin (Second, Al Dual, Crudo Pimento, Belter Souls). Hoy ha sido la presentación oficial de Microsonidos y Rafa Silbato nos pone al tanto de las últimas novedades (Sr Chinarro, The Speedways, Mambo Jambo)

leo tunaangazia ujio wetu mpya wa podcast yetu pendwa. na hivyo tutakuwa tunaitwa 'Mambo jambo The mathematics' tunashukuru kwa support na msiache kuendelea kutusupport. --- Send in a voice message: https://anchor.fm/ayubu-chewale/message

Iniciamos la 4ª temporada con el Dúo Dinámico, los Sirex, los Nivram, los Mustang, Vincent Parrot, Rita Pavone, Lucio Battisti, Carmen Sevilla & Paco Rabal, los Mambo Jambo, Elvis, Aurelio yt los Vagabundos, Rigoberta Bandini y Amaia, Crosby, Stills & Nash, Olivia Newton-John y Blondie.

La Taberna 921 En esta semana os traemos un programa donde repasamos la segunda parte del festival Castillo de Ainsa, desde el 14 hasta el 30 de julio. Los artistas que ponen su musica al programa son Gabriel Calvo, Almale, Ixeya, Coral de Sobrarbe, Zaruk, Ana Diafana e Iñaki Zuazu, Maria Arnal I Marcel Bages, Escoria Oriental, Mambo Jambo, Miguel Lardies, Olga y Los Ministriles, los audios de los traillers de los documentales “Folk” y “No Somos Nada”, terminamos con otras citas de conciertos con Amankay, Korrontzi y Aulaga Folk. 🖊️ Suscribete a ▶️ nuestros episodios y no te pierdas ninguno Envíanos tus notas de voz a 📞Whasapt 654 93 42 41 Apoya nuestros 🎙️podcast, hazte 💯fans para continuar con la difusión de la cultura en 🔊audio. Visita nuestras webs https://podcastaragon.es/ y https://musicaypalabras.es/ Escríbenos a infopodcastaragon@gmail.com Autor del programa: Francho Martinez

Ya estamos otra vez de vuelta con una flamante entrega de clásicos de nuestro juke box remoto, donde sonarán éxitos instantáneos como "Chicken Boogie", "Katy Did", "Buffalo Bill", "Limbo", "Trifling Woman", "Mambo Jambo"... Todo este despiporre, a partir de las 23.00 horas en la sintonía de Radio 3. Escuchar audio

A música perdeu muitos bons poemas No vento contrário, quem sabe eram bons A música é uma cópia duma cópia Cara aberta vai ao fundo e vem à tona por respiração A música é uma revolução de estilos É do […] O conteúdo Busílis #49 – Mambo Jambo Post Eurodance Disco Set aparece primeiro em Engenharia Rádio.

The biggest names in Hollywood and Broadway recorded for AFRS during the war years, The American Forces Network can trace its origins back to May 26, 1942, when the War Department established the Armed Forces Radio Service (AFRS). The U.S. Army began broadcasting from London during World War II, using equipment and studio facilities borrowed from the British Broadcasting Corporation (BBC). The first transmission to U.S. troops began at 5:45 p.m. on July 4, 1943, and included less than five hours of recorded shows, a BBC news and sports broadcast. That day, Corporal Syl Binkin became the first U.S. Military broadcasters heard over the air. The signal was sent from London via telephone lines to five regional transmitters to reach U.S. troops in the United Kingdom as they prepared for the inevitable invasion of Nazi-occupied Europe. Fearing competition for civilian audiences the BBC initially tried to impose restrictions on AFN broadcasts within Britain (transmissions were only allowed from American Bases outside London and were limited to 50 watts of transmission power) and a minimum quota of British produced programming had to be carried. Nevertheless AFN programmes were widely enjoyed by the British civilian listeners who could receive them and once AFN operations transferred to continental Europe (shortly after D-Day) AFN were able to broadcast with little restriction with programmes available to civilian audiences across most of Europe (including Britain) after dark. As D-Day approached, the network joined with the BBC and the Canadian Broadcasting Corporation to develop programs especially for the Allied Expeditionary Forces. Mobile stations, complete with personnel, broadcasting equipment, and a record library were deployed to broadcast music and news to troops in the field. The mobile stations reported on front line activities and fed the news reports back to studio locations in London. --------------------------------------------------------------------------- Entertainment Radio Stations Live 24/7 Sherlock Holmes/CBS Radio Mystery Theater https://live365.com/station/Sherlock-Holmes-Classic-Radio--a91441 https://live365.com/station/CBS-Radio-Mystery-Theater-a57491 ----------------------------------------------------------------------------

Fuego en la Pista de Baile, los éxitos y las novedades más underground en www.ipopfm.com, cada miércoles de 20 a 21 horas. Hoy Especial primer volumen de los mejor del 2021. Déjate seducir por el programa más underground de iPOPfm. Déjate seducir por Fuego En La Pista de Baile! Han sonado: 1. Greg Townson – Out in The Streets 2. Isaac Rother and The Phantoms – Fairytale 3. Floyd James & The GTs – A Weight Hanging Over Me 4. Atenea Carter & Groove Collective – Summertime 5. Elise Legrow – Forever 6. Myles Sanko – Who To Call 7. Smoke and The Mirrors – I’m a Man 8. Winston Reedy – Those Days 9. Keith and Tex – My Sweet Love 10. Nick Waterhouse – B. Santa Anna, 1986 11. John Paul Keith – How Can You Walk Away? 12. The Excitements – Mr. Landlord 13. Mambo Jambo – Rastro de Carmín 14. Koko Jean and The Tonics - All Night Long 15. The Specials – Soldiers Who Want To Be Heroes 16. Televisionaries – Charlotte Beach 17. Howlin’ Jaws – Safety Pack 18. The Meteors – You Use To Be 19. The Sharks – I Can’t Believe You’re Back 20. Watts – Breaking Glass 21. Bo Derek’s – Recuerdos del Paraíso 22. Los Summers – Tu Gato 23. Marrajos – Fiesta Summer

101. Cause you deserve to hear only the VERY BEST in rockin' sounds! Welcome the 2nd show of the year -our big BEST OF 2021 rockabilly review! Over 3 hours of the finest retro-roots-rock recordings from the past 12 months (plus a few bonus NEW RELEASE exclusives LIKE The Sirocco Bros., Geoffrey Miller, Shanda & The Howlers & J.P. McDermott & Western Bop!). It's hard work but so darn rewarding when you have this many excellent releases to choose from! It's ALL NEW - ALL KILLER - NO FILLER! as we enjoy selections from Darrel Higham, Danny Fisher, The Jerrells, Skinny McGee & His Mayhem Makers, Charley Crockett, Texas T and the Shine Runners, West Of Texas, Wolfoni, Brian Setzer, The Kokomo Kings, mad Guz & The Mojos, The Rock-A-Sonics, The Ragged Roses, Jimmy Dale Richardson, Betty Sue & The Hot Dots, The Starjays, Mambo Jambo, The Train Robbers, TheHip-Shooters, Lara Hope, Jake Calyspo & Red Hot, The Lustre Kings, Lucky Jones, The Bobby Lee Combo & MORE! A great start to a great new year with the Aztec Werewolf as your capable MC & DJ! Seriously rockin' and good to the last bop!™

Aquesta setmana comencem amb la recent col.laboració de Maria Mazzota amb el quartet folk de Toulouse Pulcinella, descobrim l'aventura etíop del violinista Theo Ceccaldi, el record de la banda Viva la vida pel mestre Papa Wemba, el concert dels Mambo Jambo a Girona i acabem recordant a Zappa mort un 4 de desembre.

Música nueva para volarte la cabeza de St. Vincent, Guedra Guedra, Los Mambo Jambo, Alfa Mist y Alfredo Gutiérrez y sus acordeones dorados. Presentada por Omar Morales.

Alfombra roja para uno de los mejores combos instrumentales del país. Los Mambo Jambo nos presentan su nuevo álbum, ‘Exotic Ren-dezvous’, un viaje evocador y exquisito por la exótica, el surf y el rock and roll. Al frente de esta banda, el genial y salvaje saxofonista Dani Nel.lo. ‘Exotic Rendezvous’ es una cita exótica, una manera de reivindicar los paraísos perdidos. Cuando evocamos lo 'exótico', hablamos de lo inaudito, de lo desconocido y de lo excitante que cada uno lleva dentro, de lugares personales donde descubrir, inventar y fantasear con todas esas referencias culturales que hemos ido absorbiendo durante toda nuestra vida. Los Mambo Jambo han concebido este disco como un antídoto contra la constante necesidad de la inmediatez, contra la esclavitud de la rabiosa actualidad, contra la vida retransmitida a cada instante y contra el exceso de información pro-pio de nuestro presente. ‘Exotic Rendezvous’ se erige como un espacio donde refugiarnos de toda esa mediocridad. Escuchar audio

Hace unos días Los Mambo Jambo presentaron su quinto álbum, titulado 'Exotic Rendezvous'. Para conocer más acerca de este trabajo y del propio grupo, nuestra compañera Raquel estuvo charlando con Dani Nel·lo, saxofonista del grupo.

Sintonía: "¡Viva Sapo!" - Los Mambo Jambo "Contra las cuerdas", "Dizzy" y "Exotic Rendezvous" - Los Mambo Jambo; "Louisiana" - Percy Mayfield; "Crazy Beat" - Gene Vincent; "Rastro de carmín" y "El gran ciclón" - Los Mambo Jambo; "Hot Rod Rumble" (Main Title) - Alexander Courage; "Secret Agent Man" - Mel Tormé; "Un disparo al agua" y "Luna caliente" - Los Mambo Jambo Escuchar audio

En este capítulo tenemos de todo, una portada en formato EP con el sombrerero tejano Chris Roberts que le acaba de poner una pluma roja a su última creación. Espléndida colección de canciones de raza. Las novedades nos traen a Christone Kingfish Ingram, Rodney Crowell, Mambo Jambo y Robben Ford. Y en la recta final charlamos con Chema Lara, nuestro compañero, amigo y excelente músico nos ha contado los secretos de su último proyecto acústico e intrumental. Gracias por escuchar, os queremos.

Masks…just masks. And while masked up, listen to today’s podcast, featuring Beth Orton, Everything But the Girl, Human Sexual Response, Barrence Whitfield & Mambo Jambo, Screaming Blue Messiahs, Guadacanal Diary, Game Theory, Foxpalmer, Sam Phillips, Elvis Costello, John Hiatt, Del Shannon, Roy Orbison, Buddy Holly, and Elvis Presley. This podcast is, as always, available to … Continue reading "Masks"

Literarischer Herbstgenuss und gewohnt kritische Auseinandersetzung mit dem aktuellen Zeitgeschehen. Durch unseren Podcast-Kakao ziehen wir Schulz, Scholz und besonders Otte. Erfreulicher ist da schon Lotta King Karl und der Ausblick auf den ersehnten Brückentag. Als Kapitän zur See surft Klausi auf der Hasewelle.

LOS MAMBO JAMBO: Yecla Jazz 2019. Teatro Concha Segura, Yecla, Murcia, 24 septiembre 2019. Parte final. CMQ BIG BAND: HOMENAJE A BENY MORE. Yecla Jazz 2019. Teatro Concha Segura, Yecla, Murcia, 25 septiembre 2019. Primera parte, con presentación de José Miguel López desde el escenario. 17 músicos en escena dirigidos por el pianista Luis Guerra. ¡Fabuloso concierto! enérgico y bailable. También con momentos lentos en los boleros y con partes afro con tambores batá. La CMQ fue una emisora de radio y luego de televisión que comenzó a emitir en La Habana en 1933. Tenia la mejor orquesta de Cuba que actuaba diariamente en directo. Beny More era asiduo, tanto él como sus canciones. En Yecla la CMQ Big Band recreó aquel ambiente con un público totalmente entregado. Lo pasamos pipa. Mañana seguiremos con la segunda parte. Escuchar audio

LOS MAMBO JAMBO: Yecla Jazz 2019. Teatro Concha Segura, Yecla, Murcia, 24 septiembre 2019. Segunda parte, con presentación de José Miguel López desde el escenario. Repertorio resumen de sus cuatro discos, incluyendo un tema inédito. Intérpretes: Dani Nel·lo (saxo), Dani Baraldés (guitarra), Ivan Kovacevic (contrabajo) y Anton Jarl (batería). Escuchar audio

Episode thirty-five of A History of Rock Music in Five Hundred Songs looks at “Why Do Fools Fall in Love?” by Frankie Lymon and the Teenagers, and at the terrible afterlife of child stardom. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a ten-minute bonus episode available, on “Space Guitar” by Johnny “Guitar” Watson. —-more—- Resources As always, I’ve created a Mixcloud streaming playlist with full versions of all the songs in the episode. There are no books on the Teenagers, as far as I know, so as I so often do when talking about vocal groups I relied heavily on Marv Goldberg’s website. Some information also comes from Big Beat Heat: Alan Freed and the Early Years of Rock & Roll by John A. Jackson. Some background on George Goldner was from Hound Dog: The Leiber and Stoller Autobiography by Jerry Leiber, Mike Stoller, and David Ritz. And for more on Morris Levy, see Me, the Mob, and the Music, by Tommy James with Martin Fitzpatrick. This compilation contains every recording by Frankie Lymon and the Teenagers, together or separately, as well as recordings by Lewis Lymon and the Teenchords, a group led by Lymon’s brother. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript The story of Frankie Lymon and the Teenagers is, like so many of the stories we’re dealing with in this series, a story of heartbreak and early death, a story of young people of colour having their work become massively successful and making no money off it because of wealthy businessmen stealing their work. But it’s also a story of what happens when you get involved with the Mafia before you hit puberty, and your career peaks at thirteen. The Teenagers only had one really big hit, but it was one of the biggest hits of the fifties, and it was a song that is almost universally known to this day. So today we’re going to talk about “Why Do Fools Fall in Love?” The Teenagers started when two black teenagers from New York, Jimmy Merchant and Sherman Garnes, left the vocal group they’d formed, which was named “the Earth Angels” after the Penguins song, and hooked up with two Latino neighbours, Joe Negroni and Herman Santiago. They named themselves the Ermines. Soon after, they were the support act for local vocal group the Cadillacs: [Excerpt, The Cadillacs, “Speedoo”] They were impressed enough by the Cadillacs that in honour of them they changed their name, becoming the Coup de Villes, and after that the Premiers. They used to practice in the hallway of the apartment block where Sherman Garnes lived, and eventually one of the neighbours got sick of hearing them sing the same songs over and over. The neighbour decided to bring out some love letters his girlfriend had written, some of which were in the form of poems, and say to the kids “why don’t you turn some of these into songs?” And so they did just that — they took one of the letters, containing the phrase “why do birds sing so gay?” and Santiago and Merchant worked out a ballad for Santiago to sing containing that phrase. Soon after this, the Premiers met up with a very young kid, Frankie Lymon, who sang and played percussion in a mambo group. I suppose I should pause here to talk briefly about the mambo craze. Rock and roll wasn’t the only musical style that was making inroads in the pop markets in the fifties — and an impartial observer, looking in 1953 or 1954, might easily have expected that the big musical trend that would shape the next few decades would be calypso music, which had become huge in the US for a brief period. But that wasn’t the only music that was challenging rock and roll. There were a whole host of other musics, usually those from Pacific, Latin-American and/or Caribbean cultures, which tend to get lumped together as “exotica” now, and “mambo” was one of those. This was a craze named after a song by the Cuban bandleader Perez Prado, “Mambo Jambo”: [Excerpt: Perez Prado, “Mambo Jambo”] That song was popular enough that soon everyone was jumping on the bandwagon — for example, Bill Haley and the Comets with “Mambo Rock”: [Excerpt: Bill Haley and the Comets, “Mambo Rock”] The group that Frankie Lymon was performing with was one of those groups, but he was easily persuaded instead to join the Premiers. He was the young kid who hung around with them when they practiced, not the leader, and not even a major part of the group. Not yet, anyway. But everything changed for the group when Richie Barrett heard them singing on a street corner near him. These days, Barrett is best-known for his 1962 single “Some Other Guy”, which was later covered by the Beatles, among others: [Excerpt: Richie Barrett, “Some Other Guy”] But at the time he was the lead singer of a group called the Valentines: [Excerpt: The Valentines, “Tonight Kathleen”] He was also working for George Goldner at Rama Records as a talent scout and producer, doing the same kind of things that Ike Turner had been doing for Chess and Modern, or that Jesse Stone did for Atlantic — finding the acts, doing the arrangements, doing all the work involved in turning some teenage kid into someone who could become a star. Goldner was someone for whom most people in the music industry seem to have a certain amount of contempt — he was, by most accounts, a fairly weak-willed figure who got himself into great amounts of debt with dodgy people. But one thing they’re all agreed on is that he had a great ear for a hit, because as Jerry Leiber put it he had the taste of a fourteen-year-old girl. George Goldner had actually got into R&B through the mambo craze. When Goldner had started in the music industry, it had been as the owner of a chain of nightclubs which featured Latin music. The clubs became popular enough that he also started Tico Records, a label that put out Latin records, most notably early recordings by Tito Puente. [Excerpt: Tito Puente: “Vibe Mambo”] When the mambo boom hit, a lot of black teenagers started attending Goldner’s clubs, and he became interested in the other music they were listening to. He started first Rama Records, as a label for R&B singles, and then Gee records, named after the most successful record that had been put out on Rama, “Gee”, by the Crows. However, Goldner had a business partner, and his name was Morris Levy, and Levy was *not* someone you wanted involved in your business in any way. In this series we’re going to talk about a lot of horrible people — and in fact we’ve already covered more than a few of them — yet Morris Levy was one of the worst people we’re going to look at. While most of the people we’ve discussed are either terrible people in their personal life (if they were a musician) or a minor con artist who ripped off musicians and kept the money for themselves, Morris Levy was a terrible human being *and* a con artist, someone who used his Mafia connections to ensure that the artists he ripped off would never even think of suing him, because they valued their lives too much. We’ll be looking at at least one rock and roll star, in the 1960s, who died in mysterious circumstances after getting involved with Levy. Levy had been the founder of Birdland, the world-famous jazz club, in the 1940s, but when ASCAP came to him asking for the money they were meant to get for their songwriters from live performances, Levy had immediately seen the possibilities in music publishing. Levy then formed a publishing company, Patricia Music, and a record label, Roulette, and started into the business of properly exploiting young black people, not just having them work in his clubs for a night, but having them create intellectual property he could continue exploiting for the rest of his life. Indeed, Levy was so keen to make money off dubious intellectual property that he actually formed a company with his friend Alan Freed which attempted to trademark the phrase “rock and roll”, on the basis that this way any records that came out labelled as such would have to pay them for the privilege. Thankfully, the term caught on so rapidly that there was no way for them to enforce the trademark, and it became genericised. But this is who Levy was, and how he made his money — at least his more legitimate money. Where he got the rest from is a matter for the true crime podcasts. There are several people who report death threats, or having to give up their careers, or suddenly move thousands of miles away from home, to avoid Levy’s revenge on artists who didn’t do exactly what he said. So when we’re looking at a group of literal teenage kids — and black teenagers at that, with the smallest amount of institutional privilege possible, you can be sure that he was not going to treat them with the respect that they were due. Levy owned fifty percent of Goldner’s record companies, and would soon grow to own all of them, as Goldner accumulated more gambling debts and used his record labels to pay them off. But at the start of their career, the group didn’t yet have to worry about Levy. That would come later. For now, they were dealing with George Goldner. And Goldner was someone who was actually concerned with the music, and who had been producing hits consistently for the last few years. At the time the Premiers signed with him, for example, he had just produced “You Baby You” for the Cleftones. [Excerpt: The Cleftones, “You Baby You”] When Richie Barrett brought the Premiers to Goldner, he was intrigued because two of the members were Latino, and he was such a lover of Latin music. But he quickly latched on to the potential of Frankie Lymon as a star. Lymon was a captivating performer, and when you watch video footage of him now you can’t help but think of Michael Jackson, who followed almost exactly the same early career trajectory a decade later. While the other band members were the normal kind of teenage kids who joined doo-wop groups, and were clearly a little reserved, Lymon just *went for it*, working the crowd like a young James Brown with absolutely no self-consciousness at all. He also had a gorgeous falsetto voice, and knew how to use it. As we’ve heard, many of the doo-wop groups of the fifties weren’t particularly proficient singers, but Lymon did have a real vocal talent. He was clearly a potential star. Frankie Lymon wasn’t even originally meant to be the lead singer on “Why Do Fools Fall in Love?” — that distinctive falsetto that makes the record so memorable was a late addition. The song was originally meant to be sung by Herman Santiago, and it was only in the studio that the song was rearranged to instead focus on the band’s youngest — and youngest-sounding — member. [Excerpt: Frankie Lymon and the Teenagers, “Why Do Fools Fall In Love?”] When the record came out, it wasn’t credited to the Premiers, but to “The Teenagers, featuring Frankie Lymon”. Goldner hadn’t liked the group’s name, and decided to focus on their big selling point — their youth, and in particular the youth of their new lead singer. Much of the work to make the record sound that good was done not by the Teenagers or by Goldner, but by the session saxophone player Jimmy Wright, who ended up doing the arrangements on all of the Teenagers’ records, and whose idea it was to start them with Sherman Garnes’ bass intros. Again, as with so many of these records, there was a white cover version that came out almost immediately — this time by the Diamonds, a group of Canadians who copied the formula of their fellow countrymen the Crew Cuts and more or less cornered the market in white remakes of doo-wop hits. [Excerpt: The Diamonds, “Why Do Fools Fall in Love?”] But in a sign of how the times were changing, the Diamonds’ version of the song only went to number twelve, while the Teenagers’ version went to number six, helped by a massive push from Morris Levy’s good friend Alan Freed. Partly this may have been down to the fact that all the Diamonds were adults, and they simply couldn’t compete with the novelty sound of a boy who sounded prepubescent, singing in falsetto. Falsetto had, of course, always been a part of the doo-wop vocal blend, but it had been a minor part up to this point. Lead vocals would generally be sung in a smooth high tenor, but would very rarely reach to the truly high notes. Lymon, by virtue of his voice not yet having broken, introduced a new timbre into rock and roll lead vocals, and he influenced almost every vocal group that followed. There might have been a Four Seasons or a Jan and Dean or a Beach Boys without Lymon, but I doubt it. There was also a British cover version, by Alma Cogan, a middle-of-the-road singer known as “the girl with the giggle in her voice”. [Excerpt: Alma Cogan, “Why Do Fools Fall In Love?”] This sort of thing was common in Britain well into the sixties, as most US labels didn’t have distribution in the UK, and so if British people wanted to hear American rock and roll songs, they would often get them in native cover versions. Cogan was a particular source of these, often recording songs that had been R&B hits. We will see a lot more of this in future episodes, as we start to look more at the way rock and roll affected the UK. The Teenagers followed the success of “Why Do Fools Fall in Love?” with “I Want You to Be My Girl”: [Excerpt, Frankie Lymon and the Teenagers, “I Want You to Be My Girl”] This one did almost as well, reaching a peak of number thirteen in the pop charts. But the singles after that did less well, although “I’m Not A Juvenile Delinquent” became a big hit in the UK. The record label soon decided that Lymon needed to become a solo star, rather than being just the lead singer of the Teenagers. Quite why they made this decision was difficult to say, as one would not normally deliberately break up a hit act. But presumably the calculation was that they would then have two hit acts — solo Frankie Lymon, and the Teenagers still recording together. It didn’t work out like that. Lymon inadvertently caused another crisis in the ongoing battle of rock and roll versus racism. Alan Freed had a new TV series, The Big Beat, which was a toned-down version of Freed’s radio show. By this point, real rock and roll was already in a temporary decline as the major labels fought back, and so Freed’s show was generally filled with the kind of pre-packaged major label act, usually named Bobby, that we’ll be talking about when we get to the later fifties. For all that Freed had a reputation as a supporter of black music, what he really was was someone with the skill to see a bandwagon and jump on it. But still, some of the black performers were still popular, and so Freed had Lymon on his showr. But his show was aimed at a white audience, and so the studio audience was white, and dancing. And Frankie Lymon started to dance as well. A black boy, dancing with a white girl. This did not go down well at all with the Southern network affiliates, and within a couple of weeks Freed’s show had been taken off the TV. And that appearance, the one that destroyed Freed’s show, was almost certainly Lymon’s very first ever solo performance. One might think that this did not augur well for his future career, and that assessment would be largely correct. Neither Lymon nor the Teenagers would ever have another hit after they split. The last few records credited to Frankie Lymon and the Teenagers were in fact Lymon solo recordings, performed with other backing singers. “Goody Goody” did manage to reach number twenty on the pop charts: [Excerpt: Frankie Lymon and the Teenagers, “Goody Goody”] Everything after that did worse. Lymon’s first solo single, “My Girl”, failed to chart: [Excerpt: Frankie Lymon, “My Girl”] He continued making records for another couple of years, but nothing came of any of them, and when his voice broke he stopped sounding much like himself. The last recording he made that came even close to being a hit was a remake of Bobby Day’s “Little Bitty Pretty One” from 1960. [Excerpt: Frankie Lymon, “Little Bitty Pretty One”] And the Teenagers didn’t fare much better. They went through several new lead singers. There was Billy Lobrano, a white kid who according to Jimmy Merchant sounded more like Eddie Fisher than like Lymon: [Excerpt: The Teenagers, “Mama Wanna Rock”] Then there was Freddie Houston, who would go on to be the lead singer in one of the many Ink Spots lineups touring in the sixties, and then they started trying to focus on the other original group members, for example calling themselves “Sherman and the Teenagers” when performing the Leiber and Stoller song “The Draw”: [Excerpt: Sherman and the Teenagers, “The Draw”] As you can hear, none of these had the same sound as they’d had with Lymon, and they eventually hit on the idea of getting a woman into the group instead. They got in Sandra Doyle, who would later be Zola Taylor’s replacement in the Platters, and struggled on until 1961, when they finally split up. Lymon’s life after leaving the Teenagers was one of nothing but tragedy. He married three times, every time bigamously, and his only child died two days after the birth. Lymon would apparently regularly steal from Zola Taylor, who became his second wife, to feed his heroin addiction. He briefly reunited with the Teenagers in 1965, but they had little success. He spent a couple of years in the army, and appeared to have got himself clean, and even got a new record deal. But the night before he was meant to go back into the studio, he fell off the wagon, for what would be the last time. Frankie Lymon died, aged just twenty-five, and a has-been for almost half of his life, of a heroin overdose, in 1968. The other Teenagers would reunite, with Lymon’s brother joining them briefly, in the 70s. Sherman Garnes died in 1977, and Joe Negroni in 1978, but Santiago and Merchant continued, off and on, with a lineup of the Teenagers — a version of the band continues to this day, still featuring Herman Santiago, and Merchant remained with the band until his retirement a few years ago. But their first hit caused legal problems: [Excerpt: Frankie Lymon and the Teenagers, “Why Do Fools Fall In Love?”] “Why Do Fools Fall In Love?” was written by Herman Santiago, with the help of Jimmy Merchant. But neither Santiago or Merchant were credited on the song when it came out. The credited songwriters for the song are Frankie Lymon — who did have some input into rewriting it in the studio — and Morris Levy, who had never even heard the song until after it was a massive hit. George Goldner was originally credited as Lymon’s co-writer, and of course Goldner never wrote it either, but at least he was in the studio when it was recorded. But when Levy bought out Goldner’s holdings in his companies, he also bought out his rights to songs he was credited for, so Levy became the legal co-writer of “Why Do Fools Fall in Love?” In 1992 Santiago and Merchant finally won the credit for having written “Why Do Fools Fall In Love?”, but in 1996 the ruling was overturned. They’d apparently waited too long to take legal action over having their song stolen, and so the rights reverted to Lymon and Morris Levy — who had never even met the band when they wrote the song. But, of course, Lymon wasn’t alive to get the money. But his widow was. Or rather, his widows, plural, were. In the 1980s, three separate women claimed to be Lymon’s widow and thus his legitimate heir. One was his first wife, who he had married in 1964 while she was still married to her first husband. One was Zola Taylor, who Lymon supposedly married bigamously a year after his first marriage, but who couldn’t produce any evidence of this, and the third was either his second or third wife, who he married bigamously in 1967 while still married to his first, and possibly his second, wife. That third wife eventually won the various legal battles and is now in charge of the Frankie Lymon legacy. “Why Do Fools Fall In Love?” has gone on to be a standard, recorded by everyone from Joni Mitchell to the Beach Boys to Diana Ross. But Frankie Lymon and the Teenagers stand as a cautionary tale, an example that all too many people were still all too eager to follow.

Episode thirty-five of A History of Rock Music in Five Hundred Songs looks at “Why Do Fools Fall in Love?” by Frankie Lymon and the Teenagers, and at the terrible afterlife of child stardom. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a ten-minute bonus episode available, on “Space Guitar” by Johnny “Guitar” Watson. —-more—- Resources As always, I’ve created a Mixcloud streaming playlist with full versions of all the songs in the episode. There are no books on the Teenagers, as far as I know, so as I so often do when talking about vocal groups I relied heavily on Marv Goldberg’s website. Some information also comes from Big Beat Heat: Alan Freed and the Early Years of Rock & Roll by John A. Jackson. Some background on George Goldner was from Hound Dog: The Leiber and Stoller Autobiography by Jerry Leiber, Mike Stoller, and David Ritz. And for more on Morris Levy, see Me, the Mob, and the Music, by Tommy James with Martin Fitzpatrick. This compilation contains every recording by Frankie Lymon and the Teenagers, together or separately, as well as recordings by Lewis Lymon and the Teenchords, a group led by Lymon’s brother. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript The story of Frankie Lymon and the Teenagers is, like so many of the stories we’re dealing with in this series, a story of heartbreak and early death, a story of young people of colour having their work become massively successful and making no money off it because of wealthy businessmen stealing their work. But it’s also a story of what happens when you get involved with the Mafia before you hit puberty, and your career peaks at thirteen. The Teenagers only had one really big hit, but it was one of the biggest hits of the fifties, and it was a song that is almost universally known to this day. So today we’re going to talk about “Why Do Fools Fall in Love?” The Teenagers started when two black teenagers from New York, Jimmy Merchant and Sherman Garnes, left the vocal group they’d formed, which was named “the Earth Angels” after the Penguins song, and hooked up with two Latino neighbours, Joe Negroni and Herman Santiago. They named themselves the Ermines. Soon after, they were the support act for local vocal group the Cadillacs: [Excerpt, The Cadillacs, “Speedoo”] They were impressed enough by the Cadillacs that in honour of them they changed their name, becoming the Coup de Villes, and after that the Premiers. They used to practice in the hallway of the apartment block where Sherman Garnes lived, and eventually one of the neighbours got sick of hearing them sing the same songs over and over. The neighbour decided to bring out some love letters his girlfriend had written, some of which were in the form of poems, and say to the kids “why don’t you turn some of these into songs?” And so they did just that — they took one of the letters, containing the phrase “why do birds sing so gay?” and Santiago and Merchant worked out a ballad for Santiago to sing containing that phrase. Soon after this, the Premiers met up with a very young kid, Frankie Lymon, who sang and played percussion in a mambo group. I suppose I should pause here to talk briefly about the mambo craze. Rock and roll wasn’t the only musical style that was making inroads in the pop markets in the fifties — and an impartial observer, looking in 1953 or 1954, might easily have expected that the big musical trend that would shape the next few decades would be calypso music, which had become huge in the US for a brief period. But that wasn’t the only music that was challenging rock and roll. There were a whole host of other musics, usually those from Pacific, Latin-American and/or Caribbean cultures, which tend to get lumped together as “exotica” now, and “mambo” was one of those. This was a craze named after a song by the Cuban bandleader Perez Prado, “Mambo Jambo”: [Excerpt: Perez Prado, “Mambo Jambo”] That song was popular enough that soon everyone was jumping on the bandwagon — for example, Bill Haley and the Comets with “Mambo Rock”: [Excerpt: Bill Haley and the Comets, “Mambo Rock”] The group that Frankie Lymon was performing with was one of those groups, but he was easily persuaded instead to join the Premiers. He was the young kid who hung around with them when they practiced, not the leader, and not even a major part of the group. Not yet, anyway. But everything changed for the group when Richie Barrett heard them singing on a street corner near him. These days, Barrett is best-known for his 1962 single “Some Other Guy”, which was later covered by the Beatles, among others: [Excerpt: Richie Barrett, “Some Other Guy”] But at the time he was the lead singer of a group called the Valentines: [Excerpt: The Valentines, “Tonight Kathleen”] He was also working for George Goldner at Rama Records as a talent scout and producer, doing the same kind of things that Ike Turner had been doing for Chess and Modern, or that Jesse Stone did for Atlantic — finding the acts, doing the arrangements, doing all the work involved in turning some teenage kid into someone who could become a star. Goldner was someone for whom most people in the music industry seem to have a certain amount of contempt — he was, by most accounts, a fairly weak-willed figure who got himself into great amounts of debt with dodgy people. But one thing they’re all agreed on is that he had a great ear for a hit, because as Jerry Leiber put it he had the taste of a fourteen-year-old girl. George Goldner had actually got into R&B through the mambo craze. When Goldner had started in the music industry, it had been as the owner of a chain of nightclubs which featured Latin music. The clubs became popular enough that he also started Tico Records, a label that put out Latin records, most notably early recordings by Tito Puente. [Excerpt: Tito Puente: “Vibe Mambo”] When the mambo boom hit, a lot of black teenagers started attending Goldner’s clubs, and he became interested in the other music they were listening to. He started first Rama Records, as a label for R&B singles, and then Gee records, named after the most successful record that had been put out on Rama, “Gee”, by the Crows. However, Goldner had a business partner, and his name was Morris Levy, and Levy was *not* someone you wanted involved in your business in any way. In this series we’re going to talk about a lot of horrible people — and in fact we’ve already covered more than a few of them — yet Morris Levy was one of the worst people we’re going to look at. While most of the people we’ve discussed are either terrible people in their personal life (if they were a musician) or a minor con artist who ripped off musicians and kept the money for themselves, Morris Levy was a terrible human being *and* a con artist, someone who used his Mafia connections to ensure that the artists he ripped off would never even think of suing him, because they valued their lives too much. We’ll be looking at at least one rock and roll star, in the 1960s, who died in mysterious circumstances after getting involved with Levy. Levy had been the founder of Birdland, the world-famous jazz club, in the 1940s, but when ASCAP came to him asking for the money they were meant to get for their songwriters from live performances, Levy had immediately seen the possibilities in music publishing. Levy then formed a publishing company, Patricia Music, and a record label, Roulette, and started into the business of properly exploiting young black people, not just having them work in his clubs for a night, but having them create intellectual property he could continue exploiting for the rest of his life. Indeed, Levy was so keen to make money off dubious intellectual property that he actually formed a company with his friend Alan Freed which attempted to trademark the phrase “rock and roll”, on the basis that this way any records that came out labelled as such would have to pay them for the privilege. Thankfully, the term caught on so rapidly that there was no way for them to enforce the trademark, and it became genericised. But this is who Levy was, and how he made his money — at least his more legitimate money. Where he got the rest from is a matter for the true crime podcasts. There are several people who report death threats, or having to give up their careers, or suddenly move thousands of miles away from home, to avoid Levy’s revenge on artists who didn’t do exactly what he said. So when we’re looking at a group of literal teenage kids — and black teenagers at that, with the smallest amount of institutional privilege possible, you can be sure that he was not going to treat them with the respect that they were due. Levy owned fifty percent of Goldner’s record companies, and would soon grow to own all of them, as Goldner accumulated more gambling debts and used his record labels to pay them off. But at the start of their career, the group didn’t yet have to worry about Levy. That would come later. For now, they were dealing with George Goldner. And Goldner was someone who was actually concerned with the music, and who had been producing hits consistently for the last few years. At the time the Premiers signed with him, for example, he had just produced “You Baby You” for the Cleftones. [Excerpt: The Cleftones, “You Baby You”] When Richie Barrett brought the Premiers to Goldner, he was intrigued because two of the members were Latino, and he was such a lover of Latin music. But he quickly latched on to the potential of Frankie Lymon as a star. Lymon was a captivating performer, and when you watch video footage of him now you can’t help but think of Michael Jackson, who followed almost exactly the same early career trajectory a decade later. While the other band members were the normal kind of teenage kids who joined doo-wop groups, and were clearly a little reserved, Lymon just *went for it*, working the crowd like a young James Brown with absolutely no self-consciousness at all. He also had a gorgeous falsetto voice, and knew how to use it. As we’ve heard, many of the doo-wop groups of the fifties weren’t particularly proficient singers, but Lymon did have a real vocal talent. He was clearly a potential star. Frankie Lymon wasn’t even originally meant to be the lead singer on “Why Do Fools Fall in Love?” — that distinctive falsetto that makes the record so memorable was a late addition. The song was originally meant to be sung by Herman Santiago, and it was only in the studio that the song was rearranged to instead focus on the band’s youngest — and youngest-sounding — member. [Excerpt: Frankie Lymon and the Teenagers, “Why Do Fools Fall In Love?”] When the record came out, it wasn’t credited to the Premiers, but to “The Teenagers, featuring Frankie Lymon”. Goldner hadn’t liked the group’s name, and decided to focus on their big selling point — their youth, and in particular the youth of their new lead singer. Much of the work to make the record sound that good was done not by the Teenagers or by Goldner, but by the session saxophone player Jimmy Wright, who ended up doing the arrangements on all of the Teenagers’ records, and whose idea it was to start them with Sherman Garnes’ bass intros. Again, as with so many of these records, there was a white cover version that came out almost immediately — this time by the Diamonds, a group of Canadians who copied the formula of their fellow countrymen the Crew Cuts and more or less cornered the market in white remakes of doo-wop hits. [Excerpt: The Diamonds, “Why Do Fools Fall in Love?”] But in a sign of how the times were changing, the Diamonds’ version of the song only went to number twelve, while the Teenagers’ version went to number six, helped by a massive push from Morris Levy’s good friend Alan Freed. Partly this may have been down to the fact that all the Diamonds were adults, and they simply couldn’t compete with the novelty sound of a boy who sounded prepubescent, singing in falsetto. Falsetto had, of course, always been a part of the doo-wop vocal blend, but it had been a minor part up to this point. Lead vocals would generally be sung in a smooth high tenor, but would very rarely reach to the truly high notes. Lymon, by virtue of his voice not yet having broken, introduced a new timbre into rock and roll lead vocals, and he influenced almost every vocal group that followed. There might have been a Four Seasons or a Jan and Dean or a Beach Boys without Lymon, but I doubt it. There was also a British cover version, by Alma Cogan, a middle-of-the-road singer known as “the girl with the giggle in her voice”. [Excerpt: Alma Cogan, “Why Do Fools Fall In Love?”] This sort of thing was common in Britain well into the sixties, as most US labels didn’t have distribution in the UK, and so if British people wanted to hear American rock and roll songs, they would often get them in native cover versions. Cogan was a particular source of these, often recording songs that had been R&B hits. We will see a lot more of this in future episodes, as we start to look more at the way rock and roll affected the UK. The Teenagers followed the success of “Why Do Fools Fall in Love?” with “I Want You to Be My Girl”: [Excerpt, Frankie Lymon and the Teenagers, “I Want You to Be My Girl”] This one did almost as well, reaching a peak of number thirteen in the pop charts. But the singles after that did less well, although “I’m Not A Juvenile Delinquent” became a big hit in the UK. The record label soon decided that Lymon needed to become a solo star, rather than being just the lead singer of the Teenagers. Quite why they made this decision was difficult to say, as one would not normally deliberately break up a hit act. But presumably the calculation was that they would then have two hit acts — solo Frankie Lymon, and the Teenagers still recording together. It didn’t work out like that. Lymon inadvertently caused another crisis in the ongoing battle of rock and roll versus racism. Alan Freed had a new TV series, The Big Beat, which was a toned-down version of Freed’s radio show. By this point, real rock and roll was already in a temporary decline as the major labels fought back, and so Freed’s show was generally filled with the kind of pre-packaged major label act, usually named Bobby, that we’ll be talking about when we get to the later fifties. For all that Freed had a reputation as a supporter of black music, what he really was was someone with the skill to see a bandwagon and jump on it. But still, some of the black performers were still popular, and so Freed had Lymon on his showr. But his show was aimed at a white audience, and so the studio audience was white, and dancing. And Frankie Lymon started to dance as well. A black boy, dancing with a white girl. This did not go down well at all with the Southern network affiliates, and within a couple of weeks Freed’s show had been taken off the TV. And that appearance, the one that destroyed Freed’s show, was almost certainly Lymon’s very first ever solo performance. One might think that this did not augur well for his future career, and that assessment would be largely correct. Neither Lymon nor the Teenagers would ever have another hit after they split. The last few records credited to Frankie Lymon and the Teenagers were in fact Lymon solo recordings, performed with other backing singers. “Goody Goody” did manage to reach number twenty on the pop charts: [Excerpt: Frankie Lymon and the Teenagers, “Goody Goody”] Everything after that did worse. Lymon’s first solo single, “My Girl”, failed to chart: [Excerpt: Frankie Lymon, “My Girl”] He continued making records for another couple of years, but nothing came of any of them, and when his voice broke he stopped sounding much like himself. The last recording he made that came even close to being a hit was a remake of Bobby Day’s “Little Bitty Pretty One” from 1960. [Excerpt: Frankie Lymon, “Little Bitty Pretty One”] And the Teenagers didn’t fare much better. They went through several new lead singers. There was Billy Lobrano, a white kid who according to Jimmy Merchant sounded more like Eddie Fisher than like Lymon: [Excerpt: The Teenagers, “Mama Wanna Rock”] Then there was Freddie Houston, who would go on to be the lead singer in one of the many Ink Spots lineups touring in the sixties, and then they started trying to focus on the other original group members, for example calling themselves “Sherman and the Teenagers” when performing the Leiber and Stoller song “The Draw”: [Excerpt: Sherman and the Teenagers, “The Draw”] As you can hear, none of these had the same sound as they’d had with Lymon, and they eventually hit on the idea of getting a woman into the group instead. They got in Sandra Doyle, who would later be Zola Taylor’s replacement in the Platters, and struggled on until 1961, when they finally split up. Lymon’s life after leaving the Teenagers was one of nothing but tragedy. He married three times, every time bigamously, and his only child died two days after the birth. Lymon would apparently regularly steal from Zola Taylor, who became his second wife, to feed his heroin addiction. He briefly reunited with the Teenagers in 1965, but they had little success. He spent a couple of years in the army, and appeared to have got himself clean, and even got a new record deal. But the night before he was meant to go back into the studio, he fell off the wagon, for what would be the last time. Frankie Lymon died, aged just twenty-five, and a has-been for almost half of his life, of a heroin overdose, in 1968. The other Teenagers would reunite, with Lymon’s brother joining them briefly, in the 70s. Sherman Garnes died in 1977, and Joe Negroni in 1978, but Santiago and Merchant continued, off and on, with a lineup of the Teenagers — a version of the band continues to this day, still featuring Herman Santiago, and Merchant remained with the band until his retirement a few years ago. But their first hit caused legal problems: [Excerpt: Frankie Lymon and the Teenagers, “Why Do Fools Fall In Love?”] “Why Do Fools Fall In Love?” was written by Herman Santiago, with the help of Jimmy Merchant. But neither Santiago or Merchant were credited on the song when it came out. The credited songwriters for the song are Frankie Lymon — who did have some input into rewriting it in the studio — and Morris Levy, who had never even heard the song until after it was a massive hit. George Goldner was originally credited as Lymon’s co-writer, and of course Goldner never wrote it either, but at least he was in the studio when it was recorded. But when Levy bought out Goldner’s holdings in his companies, he also bought out his rights to songs he was credited for, so Levy became the legal co-writer of “Why Do Fools Fall in Love?” In 1992 Santiago and Merchant finally won the credit for having written “Why Do Fools Fall In Love?”, but in 1996 the ruling was overturned. They’d apparently waited too long to take legal action over having their song stolen, and so the rights reverted to Lymon and Morris Levy — who had never even met the band when they wrote the song. But, of course, Lymon wasn’t alive to get the money. But his widow was. Or rather, his widows, plural, were. In the 1980s, three separate women claimed to be Lymon’s widow and thus his legitimate heir. One was his first wife, who he had married in 1964 while she was still married to her first husband. One was Zola Taylor, who Lymon supposedly married bigamously a year after his first marriage, but who couldn’t produce any evidence of this, and the third was either his second or third wife, who he married bigamously in 1967 while still married to his first, and possibly his second, wife. That third wife eventually won the various legal battles and is now in charge of the Frankie Lymon legacy. “Why Do Fools Fall In Love?” has gone on to be a standard, recorded by everyone from Joni Mitchell to the Beach Boys to Diana Ross. But Frankie Lymon and the Teenagers stand as a cautionary tale, an example that all too many people were still all too eager to follow.

Pikene er endelig samlet igjen. Marianne hadde et lite terapautisk møte med aggresjon ombord på et fly og Hanne har hatt faktor 50 der solen aldri skinner. Sjekk ut mer av pikene på Facebook og Instagram eller følg Hanne og Marianne på deres personlige eskapader. Podcasten utgis av Mainstream, som du også kan følge på Instagram eller Facebook om du er podcastfan slik som oss! www.mainstream.as/podpikene

Ahora que vivimos en un interminable revival de los 80, es interesante demostrar que en aquella época estaban también rememorando otra década, la de los 50. Con un líder mundial como Reagan, la llegada de cineastas como George Lucas o John Waters, varios eventos musicales y el bombazo de Grease supusieron una recuperación de los años dorados del rock 'n roll. Con la colaboración del gran Dani Nel.lo (Rebeldes, Mambo Jambo) nos adentramos en esa época maravillosa en el que surgían bandas como Stray Cats, Loquillo, Dinamita pa los pollos o The Cramps, solistas como Chris Isaak o Robert Gordon y un montón de películas revivalistas como American Graffiti. Pero también remakes como La Mosca o La Cosa, pasando por clásicos como Regreso al futuro a Cry - Baby y series como Happy Days. Keep on rockin'!

Ahora que vivimos en un interminable revival de los 80, es interesante demostrar que en aquella época estaban también rememorando otra década, la de los 50. Con un líder mundial como Reagan, la llegada de cineastas como George Lucas o John Waters, varios eventos musicales y el bombazo de Grease supusieron una recuperación de los años dorados del rock 'n roll. Con la colaboración del gran Dani Nel.lo (Rebeldes, Mambo Jambo) nos adentramos en esa época maravillosa en el que surgían bandas como Stray Cats, Loquillo, Dinamita pa los pollos o The Cramps, solistas como Chris Isaak o Robert Gordon y un montón de películas revivalistas como American Graffiti. Pero también remakes como La Mosca o La Cosa, pasando por clásicos como Regreso al futuro a Cry - Baby y series como Happy Days. Keep on rockin'!

El rock&roll instrumental de los Mambo Jambo llega este próximo sábado, 15 de diciembre, a Vitoria-Gasteiz. La cita es a las 22 horas en la Sala Hell Dorado, uno de los locales más emblemáticos de la capital alavesa. Es la primera, pero no la única de las citas del cuarteto catalán en Euskadi, que coincidiendo con la gira celebración de su décimo aniversario estará el 9 de febrero en la Casa de Cultura de Intxaurrondo, en Donostia, y el 10 de febrero en el Kafe Antzokia de Bilbao. Más allá de la energía que desplegarán en cada uno de estos shows, en formato cuarteo, han querido dar una vuelta de tuerca a su sonido –el sonido jambofónico– y han sumado a la formación habitual de saxo, guitarra, contrabajo y batería a doce músicos más. El resultado es MAMBO JAMBO ARKESTRA, un disco que saca aún más brillo a algunas de las perlas de su repertorio. Iratxe Celis ha charlado en Euskadi Hoy Magazine con Dani Nel-Lo.

El rock&roll instrumental de los Mambo Jambo llega este próximo sábado, 15 de diciembre, a Vitoria-Gasteiz. La cita es a las 22 horas en la Sala Hell Dorado, uno de los locales más emblemáticos de la capital alavesa. Es la primera, pero no la única de las citas del cuarteto catalán en Euskadi, que coincidiendo con la gira celebración de su décimo aniversario estará el 9 de febrero en la Casa de Cultura de Intxaurrondo, en Donostia, y el 10 de febrero en el Kafe Antzokia de Bilbao. Más allá de la energía que desplegarán en cada uno de estos shows, en formato cuarteo, han querido dar una vuelta de tuerca a su sonido –el sonido jambofónico– y han sumado a la formación habitual de saxo, guitarra, contrabajo y batería a doce músicos más. El resultado es MAMBO JAMBO ARKESTRA, un disco que saca aún más brillo a algunas de las perlas de su repertorio. Iratxe Celis ha charlado en Euskadi Hoy Magazine con Dani Nel-Lo.

HOOOOLLLLAAA October!!!!!!!!! Just a few weeks until a favorite holiday of ours with tons a Goblins and Gould besides my Ex's and tons of Horror movies Galore. But on with the show this weeks episode is a special one in the making, our guest this week Chris Turner sheds light on the hidden convo of Transgender Relationships and explaining his. Also we have all the other Mambo Jambo that is going on in the world. To start the month of right lets get into in and get the laughs going! *Week Recap: -Allergies -youtube steps -October is taking off *Guest: Chris Turner -Where’d you grow up? -Have you ever been with a male? -How did you meet your partner? -What first attracted you to her? -When you introduced her to your family, was this a topic of discussion -What’s the 1 thing that stands out with her from any other woman you’ve dated in the past? -Sex… is it often? *Controversy Lord have Mercy -Brett Kavanaugh under fire -Beto Orourke will be having another debate with Cruz on the 16th -Kelly ann conway has stated she is also a victim of sexual assault - Prince awarded degree from university of Minnesota! -Eddie Murphy is now engaged to Paige Butcher *Music: -Cardi B has gotten her 3rd number 1 and is the first female rapper to do so -Lil wayne releases carter V -Taki Taki from dj snake has selena gomez, cardi B. thumbs down, not a fan but I do like hearing Cardi’s part We want to thank Chris Turner for taking the time to sit down with us in studio and let us bombard him with questions, Be sure to keep and eye for him on the strip he is there maybe even more than US!!! Also you need to Check out Heat Nightclub Located at 1500 N Main Ave, San Antonio Texas. Amazing atmosphere, Great drinks, Bottle service that puts you above the rest. Be sure to check them out, We Sure Do! **Website: www.heatsa.com Thank you for listening , please don't forget to stay up to date with us on Facebook, and Instagram. See you next week, and don't forget to tip your strippers! Facebook: www.facebook.com/Seanontherocks/ And Instagram: Seanontherocks16 And if you have any questions or wanna get ahold of us email us at: Seanontherox@gmail.com

Especial Azkena Rock Festival con nuestra colaboradora estrella, Toi Brownstone, encargada de escoger los temas que suenan del tirón tras la presentación de rigor: Cheap Trick (8:05), Hellacopters (12:15), Graveyard (15:26), King's X (18:32), The Godfathers (22:45), Mambo Jambo (26:55), Crack County Daredevils (29:22), Soulbreaker Company (33:26), Chris Isaak (39:01), The Cult (41:48), Thunder (46:08), Bloodlights (49:51), Psychotica (53:22), Inglorious (58:03). 100% ROCK !!!

Novedades, versiones, directos…… Sí, muchas historias diferentes en el Sonidos y Sonados de esta semana. Un programa en el que nos visitan Kitsune Art, EON, Viltown, Les Cruet, Rockaina y Evaristo, Mambo Jambo, Los Hermanos Dalton, Atomic Lemons, Tomasito y Joe Crepusculo con  La Jose, Scud Hero, Clarence Milton Bekker, Royal Southern Brotherhood, Illia Kuryaky […]

Judith Owen nos visita junto al legendario bajista Leland Sklar para presentarnos el noveno disco de su carrera: Somebody's Child (Twanky Records, 2016), un disco vitalista y con elaborados arreglos “es mi mejor disco hasta ahora, aunque todos los músicos te dirán que su último trabajo es el mejor. Pero así lo siento. Es un álbum cargado de empatía y compasión. Es un sonido nuevo. Antes era una persona más triste. He cambiado mucho”.Con Judith hemos hablado de sus influencias y su impecable trayectoria. Y nos ha deslumbrado con una emocionante actuación en exclusiva “De Bryan Ferry aprendí cómo seducir a tu audiencia, de Richard Thompson la importancia de disfrutar y reír haciendo música. Ellos, Cassandra Wilson y otros músicos a los que admiro y con los que he trabajado tienen un denominador común: aman lo que hacen. Este es un trabajo duro y tienes que disfrutarlo.”Además hoy también Darío Manrique entrevista al cuarteto barcelonés Los Mambo Jambo, que acaban de estrenar Jambology (Buenritmo 2016) “Como decía un buen amigo nos ocupamos de las causas y efectos del sonido Jambofónico. Es decir, el swing, el surf, el rock'n'roll... no se trata de hacer revival. Y nos da igual si lo que hacemos es pre post Beatles. La música es música. Y lo que hacemos lo traemos y lo sentimos en el siglo XXI”También hoy estrenamos el exuberante y magnífico nuevo trabajo del productor Adrián Quesada al frente de Echocentrics: Echo Hotel (Nacional, 2016)

DJ Fonseca desta vez com um mix non-stop de ska music. Há quantos anos já não ouvias uma mix assim? Provavelmente nunca ouviste, mas ok. O conteúdo Busílis #08 – Mambo Jambo – Ska Ska Ska Ska… aparece primeiro em Engenharia Rádio.

Fernando Mambo Lacha Fonseca: para os amigos Mambo Lacha; para as finanças o cidadão com o NIF 253464363463. Para mim, um exemplo a seguir. Viajei no tempo até 1981, ano […] O conteúdo Busílis #07 – Mambo Jambo Retro Parade 80s Hits aparece primeiro em Engenharia Rádio.

En esta ocasión Los Retronautas se desplazan a la libreria El Armadillo Ilustrado con motivo de Zaracómic, la semana del cómic aragonés, para hablar con dos autores de la tierra que han trabajado el genero desde dos ángulos diferentes: David Daza, el "mainstream", ha trabajado para franquicias como Transformers o Star Wars y Furillo, el "underground", ha publicado con éxito "Nosotros llegamos primero" la descacharrante historia de la expedición española a la Luna en los años 60. Con los dos tenemos una tertulia distendida en la que nos aportan información muy interesante sobre su trabajo y en la que además nos reimos mucho. Despedimos el programa con el tema "Hot Guindillas" de los Mambo Jambo y como es habitual la sintonía es el tema "Spectre Detector" de los Tiki Tones. Síguenos y contacta con nosotros a través de Facebook en http://www.facebook.com/retronautas o Twitter en @losretronautas. Saludos desde los días del futuro pasado.

En esta ocasión Los Retronautas se desplazan a la libreria El Armadillo Ilustrado con motivo de Zaracómic, la semana del cómic aragonés, para hablar con dos autores de la tierra que han trabajado el genero desde dos ángulos diferentes: David Daza, el "mainstream", ha trabajado para franquicias como Transformers o Star Wars y Furillo, el "underground", ha publicado con éxito "Nosotros llegamos primero" la descacharrante historia de la expedición española a la Luna en los años 60. Con los dos tenemos una tertulia distendida en la que nos aportan información muy interesante sobre su trabajo y en la que además nos reimos mucho. Despedimos el programa con el tema "Hot Guindillas" de los Mambo Jambo y como es habitual la sintonía es el tema "Spectre Detector" de los Tiki Tones. Síguenos y contacta con nosotros a través de Facebook en http://www.facebook.com/retronautas o Twitter en @losretronautas. Saludos desde los días del futuro pasado.

MKLab FM is part of the Musik CoLab Project. By covering most of the genres an online radio that intends to entertain their listeners should cover and at the same time also broadcasting the biggest hits around the world Musik Colab FM is becoming more and more popular among their listeners for their job and presentation of beautiful programs. Join our Discord at https://discord.gg/EugfXjW