Podcasts about Sheb Wooley

Dolphins plan tribute to Celia Cruz, RIP Don Cox, Garner Ted Armstrong, and Sheb Wooley, Hurricane Isabel is headed to Virginia. POLL #1: Who would you like to see as the Democratic candidate against George W. Bush? POLL#2: Who's your favorite dead political figure?

My co-host today is expert fisherman Jay Angel.  Jay host a podcast Let's Talk Fishing. You can watch his podcast live on Wednesdays 6 PM central time, or recorded anytime  Lets Talk Fishing with Jay AngelNational Siblings day.  Entertainment from 2003.  Mt. Tambora erupted created year without a summer, Fastest wind speed ever measured, Safety pin invented1st human shot out of a cannon.  Todays birthdays - Harry Morgan, Sheb Wooley, Chuck Connors, Max Von Sydow, Omar Sharif, Bobby Smith, Steven Seagal, Brian Setzer, Orlando Jones, Mandy Moore, Haley Joel Osment, Daisey Ridley.  Sam Kinison died.Intro - God did good - Dianna Corcoran   https://www.diannacorcoran.com/ We are family - Sister SledgeIn da club - 50 CentHave you forgotten - Daryl WorleyPurple people eater - Sheb WooleyWorking my way back to you babe - The SpinnersRock this town - Stray CatsI wanna be with you - Mandy MooreWild thing - Sam KinisonExit - It's a southern thing - Shane Owens    https://shaneowensmusic.com/about/countryundergroundradio.comhttps://www.coolcasts.cooolmedia.com/

Time for some country comedy today, courtesy of the legendary Sheb Wooley who was a fine actor and songwriter as well as comic performer. Sheb started out as a rodeo rider, as well as a guitar and fiddle man. When injuries from the rodeo kept him out of the military in WWII, Sheb pivoted to music scoring his first his with a bona-fide rock and roll novelty classic, The Purple People Eater. From there Sheb kept racking up the hits, using the name Ben Colder when contractual issues kept him from issuing new material. He also was a solid western actor with key roles in Rawhide and High Noon and Sheb's theme song for the long-running show Hee Haw became an ear worm in the 1970s (and beyond). So with his singing, songwriting, and acting all winning awards you can say Sheb was a rural renaissance man. As always find extra cuts below and thanks for sharing our shows. Want more Sheb? One bit of Sheb trivia -- he was responsible for recording a scream that was subsequently used in many movies over the years. Known as the Wilhelm scream, Sheb laid it to tape back in 1951. https://youtu.be/rksd5v43zxI?si=ZiKwMhgjmzNQoLMj Sheb's first hit was a rock and roll novelty classic -- The Purple People Eater. Here's Sheb performing the song on The Ed Sullivan Show back in 1958.https://youtu.be/67tKNEsJjTI?si=flFb593sqlzYaWwO When legal issues prevented Sheb from releasing songs under his own name it was no problem -- Sheb simply morphed into Ben Colder -- a parody of a frequently inebriated country songwriter -- who would lampoon the country hits of the day. Sheb continued to release songs under both names for the rest of his career. https://youtu.be/NVGtxbN2yGs?si=7Ah1rXPiCxd0qKeE If you have ever had the theme to the television show Hee Haw stuck in your brain you have Sheb to thank or curse. Besides being a frequent guest, Sheb composed the theme way back in 1969. https://youtu.be/KBEreTkQbds?si=RTvcGJfy6VZom0mr      

Would you believe the novelty song “The Purple People Eater" was a number 1 hit? Did you know that 30 years after its release, a movie was made based on the song? And here's something even crazier: songwriter and vocalist Sheb Wooley recorded a stock audio scream that's been used in thousands of films and TV shows! It's Halloween at One Hit Thunder, and we're diving into Mr. Wooley's bizarre and fascinating career! One Hit Thunder is brought to you by DistroKid, the ultimate partner for taking your music to the next level. Our listeners get 30% off your first YEAR with DistroKid by signing up at http://distrokid.com/vip/onehitthunder Learn more about your ad choices. Visit megaphone.fm/adchoices

Depuis les débuts du cinéma, le bruitage fait partie des effets spéciaux qui permettent de rendre un film plus spectaculaire. L'un d'entre eux porte le nom de "cri de Wilhelm".Ce cri de douleur et d'angoisse est proféré par le personnage quand il est touché par une balle ou une flèche (dans les westerns) ou quand il tombe d'une falaise ou du haut d'un immeuble.Comme de tels événements se produisent souvent à l'écran, ce cri est l'un des sons les plus connus du cinéma.Les spectateurs entendent le "cri de Wilhelm" depuis des décennies. Il a été nommé ainsi, pour la première fois, dans un western de Gordon Douglas, "La charge à Feather River", tourné en 1953.Dans ce film, le fameux cri est poussé par le soldat Wilhelm, touché par une flèche. Il est interprété par l'acteur Ralph Brooks, mais ce n'est pas sa voix qu'on entend. Il est en effet doublé, pour ce cri, par Sheb Wooley.Celui-ci est plus connu comme chanteur de country que comme comédien. En tant qu'acteur, il s'est d'ailleurs surtout consacré au doublage. Mais sa notoriété, il la doit avant tout au "cri de Wilhelm", dont on lui reconnaît généralement la paternité.En fait, cette exclamation avait déjà été entendue dans deux films, à commencer par "Les aventures du capitaine Wyatt", un film de 1951, réalisé par Raoul Walsh, avec Gary Cooper dans le rôle principal.Mais c'est le western de Gordon Douglas qui consacre le "cri de Wilhelm" de manière définitive. Ce hurlement de douleur est d'ailleurs, inclus, dès ce moment-là, dans la bibliothèque sonore de Warner Bros, l'un des grands studios de cinéma américains.Depuis lors, le cri a été redécouvert, dans les années 1970, par un ingénieur du son travaillant sur le film de George Lucas, "La guerre des étoiles". Le cri a ensuite été entendu à maintes reprises au cinéma, notamment dans les autres films de la saga "Star wars". Depuis sa création, il aurait été poussé plus de 560 fois au cinéma. Hébergé par Acast. Visitez acast.com/privacy pour plus d'informations.

Brothers Drew and Eric tip one out for the late Donald Sutherland by discussing the 1978 classic ‘Invasion of the Body Snatchers.' Along the way they discuss Sheb Wooley, the Wilhelm Scream, stir-fry cooking, Brooke Adams, Leonard Nimoy, Robert Duvall, Jeff Goldblum, Veronica Cartwright, mud baths, chocolate milk pool contamination, JFK, Amazon Prime movie weirdness, and ancient aliens.   Housekeeping starts at 49:57 during which they discuss Fallout 4, Grand Turismo 7, and algebra File length 1:07:25 File Size 50.3 MB Theme by Jul Big Green via SongFinch Subscribe to us on Apple Podcasts Listen to us on Stitcher Like us on Facebook Follow us on Twitter Send your comments to show@notinacreepyway.com Visit the show website at Not In A Creepy Way

737. Get 'frantic' for that wild Aztec Werewolf fella, DJ Del Villarreal and his Tuesday nite radio program "Go Kat, GO! The Rock-A-Billy Show!" Enjoy a big 3 hour blast of killer-diller 50's styled rock n' roll served up with style, grace and fun! Dig the latest waxings from modern rockabilly stars like The Reverend Horton Heat, Dixie Fried, Ricky Rialto & the Green Rats, Stormy Trucks, Brandon Wayne and his Lonesome Drifters, The Carnivals, The Quakes, La Perra Blanco, Zacharia Malachi,  Seatbelt, The Supersonics and you'll marvel at the amazing new Yep Roc Records single from Nick Lowe and Los Straitjackets! Balancing the playlist is a generous assortment of vintage rockers from old school heroes Mac Curtis, Don Gibson, Sheb Wooley, Brenda Lee, Benny Joy, Lavern Baker, Art Adams, Link Wray, Buddy Holly, Eddie Cochran, Ricky Nelson, Little Richard, Webb Pierce, Faron Young, Jack Scott and even Ronnie Self! This Saturday in New Boston, MI is the 3d annual Tiki Inferno event at the infamous Speedcult compound -we catch up with event organizer Mark Thompson and hear all about Tiki Inferno show in an exclusive LIVE interview! Dig some spicy Mexican-American rockin' songs, sizzling Summertime rock n' roll themes and even a tiki-billy set in honor of Mark's Speedcult show on Saturday. Hot fun for your summer time is packed into each and every episode of DJ Del's "Go Kat, GO!"Please follow on FaceBook, Instagram & Twitter!

This week Jeff and Dave discuss ‘High Noon' in our “Films of 1952” segment, part of our random year generator series! Having never seen this Stanley Kramer/Fred Zinnemann/Carl Foreman CLASSIC, we figured it was time to regain our credibility by watching one of American history's most inspiring westerns- and films. Even though Dave is Australian. He's from the Outback and waved at Queen Elizabeth II once, and she was coronated in 1952, so I suppose he has a specific niche expertise. Jeff also offers a spoiler-free, feeling-first mini-review of “Kingdom of the Planet of the Apes” after Dave discusses the confusion of the Sony/Apollo/Paramount+ news!  
Our phone number is 646-484-9298, it accepts texts or voice messages.  0:00 Intro + Sony/P+ News; 8:26 Kingdom of the Planet of the Apes Mini Review; 13:40 Films of 1952: ‘High Noon'; 54:33 What You Been Watching?; 01:15:34 Next Week's Episode Teaser Additional Cast/Crew/Mentions: Gary Cooper, Grace Kelly, Lee Van Cleef, Thomas Mitchell, Lloyd Bridges, Lon Chaney Jr., Otto Kruger, Harry Morgan, Ian MacDonald, Eve McVeagh, Sheb Wooley. John W. Cunningham.   Hosts: Dave Green, Jeff Ostermueller Edited & Produced by Dave Green. Beer Sponsor: Carlos Barrozo Music Sponsor: Dasein Dasein on Spotify: https://open.spotify.com/artist/77H3GPgYigeKNlZKGx11KZ 
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National Siblings day.  Entertainment from 1971.  Mt. Tambora erupted created year without a summer, Fastest wind speed ever measured, Safety pin invented1st human shot out of a cannon.  Todays birthdays - Harry Morgan, Sheb Wooley, Chuck Connors, Max Von Sydow, Omar Sharif, Bobby Smith, Steven Seagal, Brian Setzer, Orlando Jones, Mandy Moore, Haley Joel Osment, Daisey Ridley.  Sam Kinison died.Intro - Pour some sugar on me - Def Leppard   http://defleppard.com/Geico commercialWe are family - Sister SledgeJust my imagination - The SpinnersEmpty arms - Sonny JamesBirthdays - In da club - 50 CentPurple people eater - Sheb WooleyWorking my way back to you babe - The SpinnersRock this town - Stray CatsI wanna be with you - Mandy MooreWild thing - Sam KinisonExit - Its not love - Dokken 

Welcome to the Instant Trivia podcast episode 1148, where we ask the best trivia on the Internet. Round 1. Category: The Big Battalions 1: This country's nearly 2.2 million active military personnel is by far the world's largest standing force. China. 2: Russia leads the world with more than 20,000 of these, like the new T-14 with an automated turret and 125mm cannon. tanks. 3: The U.S. rules the seas with 11 of these mighty ships, more than the rest of the world's fleets combined. aircraft carriers. 4: North Korea has one of the largest fleets of these craft, including the Yono class midget type. submarines. 5: Together, these 2 countries that fought a late 1940s war over Kashmir now deploy about 2 million active troops. India and Pakistan. Round 2. Category: Cliches 1: This cliche referring to callousness in the face of calamity was inspired by the emperor Nero. Fiddling While Rome Burns. 2: This expression meaning away from turmoil became popular after Thomas Hardy used it as a book title. Far from the Madding Crowd. 3: Meaning you can't make sense of it, to not be able to do this "of" something, may refer to a flipped coin. make heads or tails of it. 4: =. =. 5: When you accept something you don't want to, you do this to your pride⁠—gulp!. swallow. Round 3. Category: Scrambled Greek Gods 1: Rose. Eros. 2: Deter me. Demeter. 3: Noise pod. Poseidon. 4: Run USA. Uranus. 5: Hair depot. Aphrodite. Round 4. Category: The '50s 1: Year in which the Soviets launched Sputnik. 1957. 2: First racehorse to win a million dollars when he took the Hollywood Gold Cup in '51. Citation. 3: In May 1956 India observed the 2,500th anniversary of this person's death. the founder of Buddhism (Buddha). 4: Before playing Pete Nolan on TV's "Rawhide", he had a major hit with this:"Well I saw the thing comin' out of the sky / It had the one long horn, and one big eye / I commenced to shakin' and I said "Ooh-eee" / It looks like a purple people eater to me / It was a one-eyed, one-horned, flyin' purple people eater / (One-eyed, one-horned...". Sheb Wooley. 5: According to a popular ad, to keep your pompadour in place, a "little dab" of this would do you. Brylcreem. Round 5. Category: Something To Wear 1: They have metal plates at heel and toe to increase sound. tap shoes. 2: Put this pretend-tious French word before "rabbit" or "fox" to keep yourself warm. faux. 3: In 1884 the U.S. Army introduced these tired-sounding casual clothes. fatigues. 4: GQ says these suits typified by an extra row of buttons don't have to be boxy, 1930s gangster-style. double breasted suits. 5: For Muslim women, a burqa covers the face; a niqab leaves the eyes uncovered; this five-letter word is a headscarf. hijab. Thanks for listening! Come back tomorrow for more exciting trivia!Special thanks to https://blog.feedspot.com/trivia_podcasts/ AI Voices used

"Le Classico" de Sébastien Ministru : "American Psycho" de Bret Easton Ellis. Avec son sourire carnassier et ses costumes chics, Patrick Bateman est l'incarnation du golden boy new-yorkais. Mais, à la nuit tombante, il laisse libre cours à sa démence. En bon serial killer, Patrick viole, torture et tue. Dans un monde lisse de tout sentiment, jusqu'où l'horreur peut-elle aller ? Ce 28 mars, c'est les 30 ans de la mort d'Eugène Ionesco. On en parle avec Marie-Claude Hubert, professeur émérite de littérature française à Aix-Marseille Université, spécialiste du théâtre français du XXe siècle, qui publie avec la collaboration de Marie-France Ionesco "Eugène Ionesco : Oeuvres" chez Quarto. En donnant corps au théâtre de l'absurde, aux côtés de Samuel Beckett, Eugène Ionesco (1909-1994) a bouleversé à jamais les fondements et les codes du théâtre européen. Défenseur d'un art irréaliste prenant à contre-pied la tradition, il prône la dérision, l'action minimaliste, la répétition incessante qui fait perdre au temps tout son sens, l'impossible communication et ses conséquences (quiproquos, non-sens). Son écriture se nourrit de ce qu'il est. Sa présence discrète s'impose avec l'invention de Bérenger, double assumé et récurrent, qui donne à voir non seulement toutes les angoisses, la peur de la mort, les questions métaphysiques qui assaillent le dramaturge, mais aussi son engagement à dénoncer les totalitarismes et leur rapide propagation, la monstruosité des hommes animés par la folie de destruction et l'horreur des camps concentrationnaires. Cette édition propose de mettre en lumière la parfaite unité et la modernité de cette œuvre avant-gardiste, en retraçant le parcours biographique, intellectuel et artistique d'un dramaturge, d'« un homme en questions ». "Les inconnus connus" d'Éric Russon : Sombre asthmatique. Le talk-show culturel de Jérôme Colin. Avec, dès 11h30, La Bagarre dans la Discothèque, un jeu musical complétement décalé où la créativité et la mauvaise foi font loi. À partir de midi, avec une belle bande de chroniqueurs, ils explorent ensemble tous les pans de la culture belge et internationale sans sacralisation, pour découvrir avec simplicité, passion et humour. Merci pour votre écoute Entrez sans Frapper c'est également en direct tous les jours de la semaine de 11h30 à 13h sur www.rtbf.be/lapremiere Retrouvez tous les épisodes de Entrez sans Frapper sur notre plateforme Auvio.be : https://auvio.rtbf.be/emission/8521 Et si vous avez apprécié ce podcast, n'hésitez pas à nous donner des étoiles ou des commentaires, cela nous aide à le faire connaître plus largement.

Merriam-Webster's Word of the Day for December 25, 2023 is: envisage • in-VIZ-ij • verb To envisage something is to picture it in your mind, or to view or regard something in a particular way. // She envisages many positive changes and opportunities in the New Year. See the entry > Examples: “Amid all his onscreen work, [Sheb] Wooley never stopped writing songs. And the one that took off … was ‘The Purple People Eater,' which skewered the musical crazes of the time by envisaging a grotesque space invader taking the bait.” — Morgan Enos, UDiscoverMusic.com, 31 Oct. 2023 Did you know? Envisage this: a word is borrowed from French in the mid-17th century and sticks around to be used in the 21st. It's not hard to picture; envisage is not alone in this accomplishment. Used today to mean “to have a mental picture of something, especially in advance of realization” and “to view or regard something in a certain way,” envisage for a time could also mean “to confront or face someone.” That use, which is now archaic, nods to the word's origin: we borrowed envisage from French, but the visage part is from Anglo-French vis, meaning “face.” (It reaches back ultimately to Greek idein, “to see.”) Visage is of course also an English word. It entered English much earlier, in the 14th century, and is typically used today in literary contexts to refer to a person's face. Envisage isn't necessarily restricted to literary contexts, but it does have a formal tone. Its near twin envision (“to picture to oneself”), which has been with us since the 19th century, is interchangeable with envisage in many contexts and is somewhat less formal.

It's Halloween time at Every Playlist Tells A Story and we have Todd calling in from the "Highway To Hell" traveling to work another show while Jimmy talks about Sheb Wooley and his Halloween classic "The Purple People Eater". It's all about Monsters, Curses, Demons and Death tonight!

Have we got a fun one for you this week! Thanks to a suggestion by one of our regular listeners, Bill Lemmond, we are delving into the massive catalog of Novelty Songs and Parody Songs! And when you mention Parody Songs, obviously the first name that comes to mind is Weird Al Yankovic. But this topic offers so much more beyond Weird Al. We talk about "great" songs by Dickie Goodman, the king of novelty songs for decades, Sheb Wooley, Bobby "Boris" Pickett, Ray Stevens, MECO, Shirley Ellis, Johnny Cash, The Blues Brothers, Steve Martin, William Shatner, Leonard Nimoy, and many others.  To hear (nearly) all the music that we talk about in this episode, check out our accompanying Spotify Playlist.  Give us your feedback about this episode! Is there a Novelty Song that you love that we didn't mention? Let us know! Drop us a line at modernmusicology1@gmail.com or leave a comment wherever you find our episode and let us know! And don't forget to rate us on your favorite podcast app!  Find us on Facebook: https://www.facebook.com/ModernMusicology Check us out on Instagram: https://www.instagram.com/modernmusicologypodcast/ Follow us on Twitter: https://twitter.com/ModrnMusicology Subscribe to our YouTube Channel: https://www.youtube.com/channel/UCk-MlcGy5u3fK1j4bVty1Kw Modern Musicology is part of the ESO Podcast Network. https://esonetwork.com/ Find more about us: Rob Levy: https://kdhx.org/shows/show/juxtaposition Stephanie Seymour: www.therearebirds.com  R. Alan Siler: www.kozmiccreative.com  Anthony Williams: https://watchers4d.podbean.com/ 

The singer-songwriter-actor is best known for his novelty songs, including the 1958 hit "The Purple People Eater" and under the name Ben Colder. His acting roles include a recurring stint as Pete Nolan on the TV series Rawhide. Among other things, he is credited as the voice of the so-called "Wilhelm scream".

Today in 1921, the birthday of Sheb Wooley, who had a hit song in the 50s called the “Purple People Eater" and is believed to be the guy who gave a scream that's been featured in hundreds of movies: the Wilhelm Scream. Plus: today in 1976, a challenging moment for then-President Gerald Ford and his tamale. Does That Scream Sound Familiar? (ABC News) No one told Ford tamales need to be unwrapped (Houston Chronicle) No need to scream to keep this show going, just contribute $1 a month or more on Patreon --- Send in a voice message: https://podcasters.spotify.com/pod/show/coolweirdawesome/message Support this podcast: https://podcasters.spotify.com/pod/show/coolweirdawesome/support

National dingus day. Pop culture from 1999. One of biggest volcanic eruptions in recorded history, safety pin invented, NY requires syphillis testing before marriage. Todays birthdays - Harry Morgan, Sheb Wooley, Chuck Connors, Max Von Sydow, Omar Sharif, Bobby Smith, Steven Segal, Brian Setzer, Orlando Jones, Haley Joel Osment, Mandy Moore, Daisy Ridley. Sam Kinison died.

What happens when a traditional Irish song is rewritten about zombies? And I have CDs!!!! If you didn't say, “You have Cds…”, you'll find out why it's important. It's kind of funny. This is Sci Fi Pub Songs & Stories #268. 0:16 - “Isn't It Grand Boys” from Happy Songs of Death 4:09 - WELCOME TO SCI FI PUB SONGS & STORIES This is the audio edition of my newsletter. I am Marc Gunn. I'm a rhythm and folk Celtic musician living in Atlanta, Georgia. I play traditional Irish and Scottish drinking songs. I'm also a songwriter. I write songs inspired by Celtic culture as well as pop culture, things like Lord of the Rings, Firefly, Star Wars, Star Trek, Doctor Who and more. If you're new to the show, please subscribe. You can do that PubSong.com/free or even better or you can subscribe and download all of my songs in this show. Just send me an email.  pubsong@ celtfather You will get an auto responder with a link to download this month's songs. You will also get that subscribe link. It's quick and easy. While you're emailing me to get your free EP, let me know what you're doing while listening to this episode. We kicked off the show… 5:04 - WHAT'S NEW STORY I really should talk more about the stuff I sell in my store. But it feels uncomfortable to do so. That's one of the reasons if you go to any of my live shows, and I say, “I have Cds”. Audience members will shout “you have Cdddsss?!” It's a little gimmick I use to draw attention to my merch. And it's really catchy. I was listening to the last episode of the podcast about writing drinking songs. While I talked about my song “The Cat Came Back… the Cat's Perspective,”. It's from my C-D… And then I paused, just like I do at live shows. When I listened to the episode, I responded, “You have CDs…” It got me thinking. Could we do that same thing through a podcast? I don't know. But we're gonna try. We're gonna make this podcast into a sort of an interactive drinking game. Each time I mention CDs, your job is to audibly respond, “you have CDs…” 6:25 - UPCOMING SHOWS APR 1-9: Sherwood Forest Faire, Paige, TX APR 6: Dragon Con Filk Music Concert with Brobdingnagian Bards @ 7 PM CST APR 20: Cat Drinking Songs on Bandcamp @ 7 PM EAST APR 21-23: Jordan Con, Atlanta, GA APR 29. The Lost Druid Earth Day Biking Concert, Avondale Estates, Ga @ 6:30-9:30 PM JUN 3-10: Celtic Invasion Vacations, County Mayo, Ireland 9:24 - The Celtic Kitchen Party “Covid-19 Shanty” from Last Call 11:11 - COMMENTS I don't get a ton of feedback for this show. But if you send an email to pubsong@celtfather with a short comment about the show… or just mentioning CDs that you love, that's a great way for us to interact and have more of a conversation. In fact, if you need a starter, I'd love it if you would grab your phone. Go to your voice recorder app. Say, “You have Cds”. Then email it to me. Marisa Halvorson emailed: "Hello Marc! I have been listening to your songs practically nonstop this St. Paddy's season (I'm in NOLA and work on Magazine street so season it is) I had to work on the day the Irish Channel parade rolled and definitely enjoyed it more with your songs keeping me company while locked in my building by parade goers. Thank you for always keeping me company and my spirits up with your music." Kennedy Johnson emailed: "Happy St Patricks Day to you Marc.  I hope you and your family are well on this day of Green & Orange

192. The holiday show you've been waiting for! Here comes "Jingle Del" Villarreal, right down 'Santa Claus' lane, with a sack full of rockin' records for all of the good rockin' girls & boys! A big present to unwrap on a Wednesday nite with over 4 hours of wild, frantic, crazy and COOL Christmas tunes, sure to melt the frost off your roof! Hillbilly holiday hi-jinx abound as the Aztec Werewolf decks your halls with your favorite seasonal songs. Hear instant classics from Seatbelt, Johnny Ramos, The Surfrajettes,  Crown City Bombers, Willie Barry, Chris Isaak, Marcel Bontempi, The Midnight Boppers, JD McPherson, The Midnight Boppers and The Old 97's as well as evergreen chestnuts from Elvis Presley, Brenda Lee, The Drifters, Bobby Helms, Duane Eddy, Ed "Kookie" Burns, Jimmy Charles,  Sheb Wooley, The Holly Twins and The Ventures, too! -wishing all my listeners, friends & fans a very Merry Christmas and the rockin'est New Year ever! Ho, Ho, HO!Please follow on FaceBook, Instagram & Twitter!

A look at one of the most recognized stock sound effects in history. For years, it has been believed, largely due to the research of motion picture sound designer Ben Burtt, that actor Sheb Wooley originally performed the scream.

What the heck is a flying purple people eater and why did that song about one stick around for so long? Plus, remember the Ice Bucket Challenge? Eight years later, we've got a look at just how big a difference it made. But is the new ALS treatment the challenge helped fund as great as it seems?Sponsors:BetterHelp, Get 10% off your first month at betterhelp.com/COOLSTUFFI Am Bio, Subscribe at bio.org/podcastLinks:‘The Purple People Eater': Sheb Wooley's Hit Novelty Song (UDiscover Music)Purple People Eater History: A Dumb Joke Turned Into a Cultural Icon (Tedium)Sheb Wooley Is Dead at 82; Sang of Purple People Eater (NY Times)Jack's recommended starter pack of Halloween oldies from the best oldies curator on the web (Jake Westbrook, YouTube)Remember the Ice Bucket Challenge? It Ended Up Funding a New ALS Drug (Futurism) ALS drug's approval draws cheers from patients, questions from skeptics (NPR)Jackson Bird on TwitterSee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

If aliens were ever to come to this planet, they will find millions of indifferent plants and animals, and a very unpredictable curious bunch of humans. Some humans will gather weapons and prepare for war, some will extend a friendly hand, and some will run around in circles screaming like their hair is on fire. What ATTT plans to do is to beam them this playlist. Songs About Aliens run the gamut in style and approach, and our good friend Gabe Scalone joins the pod for a look at the best songs about those creatures from far far away.Get more ATTT in your life! Subscribe wherever you get podcasts, look us up on Facebook, Twitter and/or Instagram, and go to the website for more details on all the fun stuff we're up to - the archives, the Patreon Thing and more!https://alltimetoptenpod.com

For his third film, Jordan Peele looks to the skies–and what he finds doesn't want to be seen. This week, Paul and Arlo say yup to Nope, Peele's celebration and evisceration of spectacle. The boys discuss the widening of Peele's horizons in the summer blockbuster mode; how the film reveres Spielberg while offering a pointed rebuttal to Jaws; Daniel Kaluuya's quiet intensity; and why first-time viewing Arlo is always the dumbest Arlo. Plus, a tribute to cinematic titan Jean-Luc Godard.   NEXT: more spectacle, as Chris Hemsworth and Natalie Portman reunite in Taika Waititi's Thor: Love and Thunder.     BREAKDOWN 00:00:56  -  Intro / RIP Jean-Luc Godard 00:06:47  -  Nope 02:11:52  -  Outro / Next     LINKS   “'Nope' Explores the Horrors of Exploiting Animals for Spectacle” by Molly Kusilka, Collider “Jordan Peele's Nope, explained” by Alissa Wilkinson, Vox “Inside the Eerie UFO Design for Jordan Peele's ‘Nope'” by Emma Stefansky, Thrillist “This Influential Anime Inspired The Final Alien Design In Nope” by Erin Brady, SlashFilm “NOPE'S SCIENCE CONSULTANT REVEALS THE NAME AND INSPIRATION FOR THE MOVIE'S ALIEN” by Melissa T. Miller, Nerdist “Nope VFX Supervisor Guillaume Rocheron on Creating That Spectacular Alien Creature” by Daron James, Motion Picture Association       MUSIC “Old Town Road (feat. Billy Ray Cyrus)” by Lil Nas X, 7 (2019) “Purple People Eater” by Sheb Wooley (1958)     GOBBLEDYCARES Abortion Funds in Every State: https://bit.ly/AbortionFundsTwitter National Suicide Prevention Lifeline: https://suicidepreventionlifeline.org/  Support AAPI communities and those affected by anti-Asian violence: https://www.gofundme.com/c/act/stop-aapi-hate Support the AAPI Civic Engagement Fund: https://aapifund.org/ Support Black Lives Matter and find anti-racism resources: https://blacklivesmatters.carrd.co/ The Trevor Project provides information and support to LGBTQ youth: thetrevorproject.org Trans Lifeline: https://translifeline.org/  US (877) 565-8860 Canada (877) 330-6366 National Center for Transgender Equality: transequality.org Advocate for writers who might be owed money due to discontinuance of royalties: https://www.writersmustbepaid.org/  Help teachers and classrooms in need: https://www.donorschoose.org/ Do your part to remove the burden of medical debt for individuals, families, and veterans: https://ripmedicaldebt.org/ Register to vote: https://vote.gov/

167. It's a rockabilly party on the radio tonight! Tuesdays ROLL with DJ Del Villarreal on both WCBN, FM and RockabillyRadio! Hip shakin' grooves to hear from the 1950's PLUS a great assortment of modern day rockers to boot! We're debuting hot tracks from SON DEMON & THE HOLY BOYS (Finland), THE RADIONS (Spain), BLOODSHOT BILL (Canada), SATAN'S PILGRIMS (Portland, OR), THE HOODOO TONES (France), SEATBELT (California), MARCEL RIESCO ( ), DANNY MCVEY TRIO (UK) and LA PERRA BLANCO (Spain) to name but a few. You can also hear some classic early vintage rockers from BOB LUMAN, BUDDY KNOX, HAWKSHAW HAWKINS, CONWAY TWITTY, CHARLIE FEATHERS, JOHNNY BURNETTE, GENE VINCENT & even SHEB WOOLEY! Whew! THE AZTEC WEREWOLF™ has the best songs to keep you movin' n' groovin' in these last days of summer -make a request for NEXT WEEK'S show: del@motorbilly.com -"Go Kat, GO! The Rock-A-Billy Show!" good to the last bop!™

HEAVY SPOILERS IN THIS EPISODE!It's a first!  The Wicked Wild crew left the comfort of the wilderness and headed to theaters to see Jordan Peele's latest release. We have a wide range of opinions on this one and on the evolving Peele universe as a whole.  With Nope, there's no question that Jordan Peele, Hoyte Van Hoytema, Daniel Kaluuya, Keke Palmer, Brandon Perea, Michael Wincott, Steven Yeun, and the rest of the cast and crew were absolutely swinging for the fences.  We've got thoughts on how well it paid off.Also, just a special shout out to Sheb Wooley.  I'm confident "Flying Purple People Eater" is the next classic tune to get the "Running Up That Hill" treatment.  To learn more about The Wicked Wild, visit www.thewickedwild.com and follow us on Instagram: @wickedwildweare.  Please remember to subscribe to get notified as new episodes are published and rate and share within your favorite social media and podcasting apps.

#weirdal #drdemento #monstermash Get a FREE EP HERE: http://LouLombardiMusic.com if  you love great guitar driven rock from the 70s, 80s, 90s and even  today, you will want to get my EP "The Bad Years". Get your copy while  supplies last! Who doesn't love a great novelty song? Novelty songs have been a part of rock music for as long as there has been rock music! On this week's Loudini Rock & Roll Circus Podcast we will count down the greatest rock and roll novelty songs of all time Get Loudini Swag HERE: https://loulombardimusic.com/rnrcircus/ Topics covered: https://www.thisdayinmusic.com/ The Streak... Ray Stevens King Tut... Steve Martin All About That Bass... Megan Trainor Big Bottom... Spinal Tap Tribute... Tenacious D My Ding-a-ling... Chuck Berry The No No Song... Ringo Starr Kung Fu Fighting.... Carl Douglas Alley Oop...The Hollywood Argyles Flying Purple People Eater...Sheb Wooley

I said Mr. Purple People Eater, don't eat meI heard him say in a voice so gruff"I wouldn't eat you 'cause you're so tough" Thank you Sheb Wooley for the visual, but @deacon_ayurveda has something else to say about it. Also, this week we do another deep dive into a listener question, and it prompted us to dream up a new, much-needed app. Listen in to find out more. Also, if you want us to talk about something that you wonder about, email us at info@imnotgonnalie.comTopics covered:-Girls night out recap-The "Boyfriend Experience"-Who doesn't love The Chase?-There's no place for slut-shaming-What is between pain and joy?This episode was produced by audio ephemera. I'm Not Gonna Lie is a proud member of the NorCal Pods podcast network.

Los Sirex, los cheyenes y los Gritos, Sheb Wooley y Filiippo Carleti, Marisol, Concjhita Bautista y los Rocket, Gino Paoli y Elio Gandolfi, Eartha Kitt y Louis Armstrong, Etta James y Beyonce... nos gustan las versiones en Crónicas apasionadas!

 While the origin of the term is in debate, there are numerous stories that almost make sense but cannot be verified. However, 20th century blues, country and rock and roll were rife with the reference and it turned into a guitar lick, a piano run, and a salty reference on the standup. Deeper Roots will be spending time with the country versions, inherited (nee appropriated) from the rhythm and blues form … and a little bit of history as well. We've got the classic country sounds of Sheb Wooley, Johnny Tyler, and The Delmore Brothers paired up with higher octane country Americana from Dale Watson, Robert Gordon, and Asleep at the Wheel. Chuck Berry once said “It used to be called boogie-woogie, it used to be called blues, used to be called rhythm & blues…it's called rock now”. You can quote me in enlightening that observation by calling it “one nascent stream that emptied into a swift river.” Tune in Friday evenings here on Sonoma County Community Radio. 

The space race and rock ‘n' roll launched at the same time, so it's no surprise musicians marketed UFOs and the skies for inspiration. While some tunes have focused on rocket men and space cowboys, others have ruminated on the idea of extraterrestrial beings invading earth's orbit. Early rock hits went the route of the novelty song, “Flying Saucers Rock and Roll” and “The Purple People Eater,” while classic rock artists such as David Bowie wrote about UFOs in a grander context.Please consider buying "The Purple People Eater," by Sheb Wooley.

Travel back in time with us to the 18th century where things were a tad bit different........... Camels in the Wild, Wild West??? Herds of hippos instead of cows????? We have learned the real definition of cat burglar and the Great Pacific Garbage Patch is actually useful after all, if only we all were so smart!! Stay tuned at the end for Sheb Wooley.......you won't be sorry. You don't know who that is??? You will..... --- Send in a voice message: https://anchor.fm/mary-e-swarts/message Support this podcast: https://anchor.fm/mary-e-swarts/support

Dolphins plan tribute to Celia Cruz, RIP Don Cox, Garner Ted Armstrong, and Sheb Wooley, Hurricane Isabel is headed to Virginia

Dolphins plan tribute to Celia Cruz, RIP Don Cox, Garner Ted Armstrong, and Sheb Wooley, Hurricane Isabel is headed to Virginia

Season 2 Episode 28 The Blurrg races have begun! The crew has located their contact and must now negotiate. Tink places a bet. Support us on Patreon! www.patreon.com/tabletopsquadron   Content Warnings Vomiting Rocket/explosion sound effect at 41:49 Sexual suggestions and scenarios Drug and alcohol use Strong Language Violence, injury, death Music Credits In The 21st Century by Keshco is licensed under a Attribution-ShareAlike License. http://freemusicarchive.org/music/Keshco/Beware_Vision_Vol_9_Keshco_-_Kneewear_Pigeon_151018/In_The_21st_Century John Edmond by Quimorucru is licensed under a Attribution-NonCommercial-NoDerivatives 4.0 International License. https://freemusicarchive.org/music/Quimorucru/Un_mchant_party/Quimorucru_-_Un_mchant_party__Compilation__-_06_John_Edmond Mornin', Noon & Nite by Daddy Long Legs is licensed under a Attribution-NonCommercial-NoDerivatives 4.0 International License. https://freemusicarchive.org/music/Daddy_Long_Legs/Live_at_WFMU_with_Todd-O-Phonic_Todd_262016/Mornin_Noon__Nite_1638 Dancing at the Marketplace (ID 1365) by Lobo Loco is licensed under a Attribution-NonCommercial-ShareAlike 4.0 International License. https://freemusicarchive.org/music/Lobo_Loco/who-made-you/dancing-at-the-marketplace-id-1365 Long John's Jump by Daddy Long Legs is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 http://freemusicarchive.org/music/Daddy_Long_Legs/Live_at_WFMU_with_Todd-O-Phonic_Todd_262016/Long_Johns_Jump_1195 In Your Arms by Kevin MacLeod Link: https://incompetech.filmmusic.io/song/3906-in-your-arms License: https://filmmusic.io/standard-license Monkeys Spinning Monkeys by Kevin MacLeod Link: https://incompetech.filmmusic.io/song/4071-monkeys-spinning-monkeys License: https://filmmusic.io/standard-license Hopefully (ID 515) by Lobo Loco is licensed under a Attribution-NonCommercial-NoDerivatives 4.0 International License. http://freemusicarchive.org/music/Lobo_Loco/JA/Hopefully_ID_515 Running Eiskrokodil by Lobo Loco is licensed under a Attribution-NonCommercial-NoDerivatives 4.0 International License. http://freemusicarchive.org/music/Lobo_Loco/Moments_1950/Eiskrokodil_Blues_ID_01 Dusty by Crowander is licensed under a Attribution-NonCommercial 4.0 International License. https://freemusicarchive.org/music/crowander/acoustic-miniband-acoustic-minimals/dusty Lonesome Road by Black Twig Pickers is licensed under a Attribution-NonCommercial-NoDerivatives (aka Music Sharing) 3.0 International License. https://freemusicarchive.org/music/Black_Twig_Pickers/Live_on_WFMUs_Shrunken_Planet_with_Jeffrey_Davison_on_102012_1586/The_Black_Twig_Pickers_-_05_-_Lonesome_Road_1473 Tite tuque (Bosco Stomp) by Quimorucru is licensed under a Attribution-NonCommercial-NoDerivatives 4.0 International License . https://freemusicarchive.org/music/Quimorucru/Un_mchant_party/Quimorucru_-_Un_mchant_party__Compilation__-_11_Tite_tuque__Bosco_Stomp_ Artillery Explosion (Close) (Mixed) by EFlexMusic https://freesound.org/people/EFlexMusic/sounds/388528/ explosion_012 by deleted_user_5405837 https://freesound.org/people/deleted_user_5405837/sounds/399303/ Little Canyon Ride (ID 1308) by Lobo Loco is licensed under a Attribution-NonCommercial-NoDerivatives 4.0 International License. https://freemusicarchive.org/music/Lobo_Loco/next-wildwestworld/little-canyon-ride-id-1308 Wilhelm Scream Author: unknown, but likely Sheb Wooley https://archive.org/details/WilhelmScreamSample

Special Guest Matt Glidden joins your hosts Dustin Melbardis and Chad Robinson for the Retro Movie Roundtable as they revisit Silverado (1985) [PG-13] Genre: Western, Action, Crime, Drama   Starring: Kevin Kline, Scott Glenn, Kevin Costner, Danny Glover, Marvin J. McIntyre, Brad Leland, Sheb Wooley, Jonathan Kasdan, John Cleese, Todd Allen, Kenny Call, Bill Thurman   Director: Lawrence Kasdan Recoded on 2021-05-11

The show features audio from After Earth 2013, Raya and the Last Dragon 2021, Phylis Diller comedy, The Purple People Eater by Sheb Wooley. Honest review of Disney's new animated film. Email: seriesoflivesinc@gmail.com Facebook: https://www.facebook.com/kiarakaihorowitzwriter

Just in time for Halloween, we dive into some spooky Christmas songs. Artists include: Count Floyd, Spinal Tap, Tarja Turunen, Emmy the Great and Tim Wheeler, Douglas Pipes, Bobby "Boris" Pickett and the Crypt-Keepers, Sheb Wooley, Brice Armstrong and The All-American Ghouls, and Defiant Brood. https://www.jinglejank.com/episodes/008.html

It's Halloween Week! To celebrate the spookiest holiday on the calendar, Michael and Phillip discuss John Carpenter's HALLOWEEN (1978) as well as Halloween, its history, and much more!Topics include: the spooky origins of Halloween (the Holiday) the frightening (not really) origins of Halloween (the movie) A special show-within-a-show all about Halloween candies Facts From Beyond the Scenes!Get a free SMPN Coffee Mug! Just Rate & Review, screenshot the review and email it to us here!The OFFICIAL Slasher Movie Podcast NOW THAT'S WHAT I CALL A HALLOWEEN PLAYLIST:1. Monster Mash by Bobby Pickett & the Crypt-Kickers 2. The Purple People Eater by Sheb Wooley 3. Halloween by Misfits Special thanks to this week's special guest (and executive producer) Alejandro Espinoza. You can check out his art here.--- Send in a voice message: https://anchor.fm/slasher-movie-podcast-now/messageSupport this podcast: https://anchor.fm/slasher-movie-podcast-now/supportSupport the show (https://www.patreon.com/pmtm)

You know the song, but you definitely don't know what it's actually about; but did the artist even? We dive into the history of the hit novelty song "The Purple People Eater" on this week's episode, and along the way Mike provides an extensive history on the life of both Sheb Wooley and the monster itself, including scenes from the JAW-DROPPING 1988 movie based on the song.

Episode eighty-six of A History of Rock Music in Five Hundred Songs looks at “LSD-25” by the Gamblers, the first rock song ever to namecheck acid, and a song by a band so obscure no photos exist of them. (The photo here is of the touring lineup of the Hollywood Argyles. Derry Weaver, the Gamblers’ lead guitarist, is top left). Patreon backers also have a fifteen-minute bonus episode, on “Papa Oom Mow Mow” by the Rivingtons. Tilt Araiza has assisted invaluably by doing a first-pass edit, and will hopefully be doing so from now on. Check out Tilt’s irregular podcasts at http://www.podnose.com/jaffa-cakes-for-proust and http://sitcomclub.com/  —-more—- Resources   As usual, I have put together a Mixcloud mix with every song excerpted in this podcast. This episode, more than most, required tiny bits of information from dozens of sources. Among those I used were the one existing interview with Derry Weaver I have been able to find, Dean Torrence’s autobiography , a book about John Dolphin by his son, and He’s A Rebel, a biography of Phil Spector by Mark Ribkowsky.  But more than anything else, I used the self-published books by Stephen McParland,  who is the premier expert on surf music, and which you can buy in PDF form here. The ones I used the most were The Beach Boys: Inception and Conception, California Confidential, and Surf & Hot-Rod Music Chronicles: Bull Sessions With the Big Daddy. “LSD-25” is on numerous various-artists compilations of surf music, of which this two-CD set looks like the best value for the casual listener.   Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript On the sixteenth of April, 1943, Albert Hoffman, a research scientist in Zurich, had a curious experience after accidentally touching a tiny speck of the chemical he was experimenting with at the pharmaceutical lab in which he worked, and felt funny afterwards. Three days later, he decided to experiment on himself, and took a tiny dose of the chemical, to see if anything happened. He felt fine at first, but asked a colleague to escort him as he rode home on his bicycle. By the time he got home, he was convinced that his neighbour was a witch and that he had been poisoned. But a few hours later, he felt a little better, though still unusual. As he would later report, “Little by little I could begin to enjoy the unprecedented colors and plays of shapes that persisted behind my closed eyes. Kaleidoscopic, fantastic images surged in on me, alternating, variegated, opening and then closing themselves in circles and spirals, exploding in colored fountains, rearranging and hybridizing themselves in constant flux”. The chemical he had taken was a derivative of ergotamine that had been discovered about five years earlier and mostly ignored up until that time, a chemical called D-lysergic acid diethylamide tartrate. Sandoz, the company he worked for, were delighted with this unusual chemical and its effects. They came up with some variants of the molecule without those effects, but which still affected the brain, and marketed those as migraine treatments. The chemical itself, they decided to make available as an experimental drug for psychiatrists and psychologists who wanted to investigate unusual states of consciousness. It found some uptake, among experimenters who wished to experience psychotic symptoms in a controlled environment in order to get a better understanding of their patients, or who wanted to investigate neurochemistry, and it had some promise as a treatment for alcoholism and various other psychiatric illnesses, and throughout the 1950s it was the subject of much medical research, under the trade name Sandoz came up with for it, Delysid. But in the sixties, it became better known as LSD-25: [Excerpt: The Gamblers, “LSD-25”] There are some records that one can look back at retrospectively and see that while they seemed unimportant at the time, they signalled a huge change in the musical culture. The single “Moon Dawg”, backed by “LSD-25”, by the Gamblers, is one of those records. Unfortunately, everything about the Gamblers is shrouded in mystery. The story I am going to tell here is the one that I’ve been able to piece together from stray fragments of recollection from the main participants over the years, but it could very well be wrong. Put it this way, on the record, there are two guitarists, bass, drums, and keyboards. I have seen fifteen people credited as having been members of the group that recorded the track. Obviously, those credits can’t all be true, so I’m going to go here with the stories of the people who are most commonly credited, but with the caveat that the people I’m talking about could very easily not have been the people on the record. I have also made mistakes about this single before — there are a couple of errors in the piece on it in my book California Dreaming. Part of the problem is that almost everyone who has laid claim to being involved in the record is — or was, as many of them have died — a well-known credit thief, someone who will happily place themselves at the centre of the story, happily put their name on copyright forms for music with which they had no involvement, and then bitterly complain that they were the real unsung geniuses behind other records, but that some evil credit thief stole all their work. The other people involved — those who haven’t said that everything was them and they did everything — were for the most part jobbing musicians who, when asked about the record, would not even be sure if they’d played on it, because they played on so many records, and weren’t asked about them for decades later. Just as one example, Nik Venet, who is generally credited as the producer of this record, said for years that Derry Weaver, the credited co-composer of the song and the person who is generally considered to have played lead guitar on it, was a pseudonym for himself. Later, when confronted with evidence that Derry Weaver was a real person, he admitted that Weaver *had* been a real person, but claimed that it was still a pseudonym for himself. Venet claimed that Weaver had died in a car crash years earlier, and that as a result he had been able to use his social security number on forms to claim himself extra money he wasn’t entitled to as a staff producer. The only problem with that story is that Venet died in 1998, while the real Derry Weaver died in 2013, but Weaver only ever did one interview I’ve been able to track down, in 2001, so Venet’s lies went unchallenged, and many books still claim that Weaver never existed. So today, I’m going to tell the story of a music scene, and use a few people as a focus, with the understanding that they may not be the people on the record we’re talking about. I’m going to look at the birth of the surf and hot-rod studio scene in LA, and at Bruce Johnston, Kim Fowley, Derry Weaver, Nik Venet, Sandy Nelson, Elliot Ingber, Larry Taylor, Howard Hirsch, and Rod Schaffer, some or all of whom may or may not have been the Gamblers: [Excerpt: The Gamblers, “Moon Dawg”] Possibly the best place to start the story is at University High School, Los Angeles, in the late 1950s. University High had always had more than its fair share of star students over the years — Judy Garland, Marilyn Monroe, and Elizabeth Taylor had all attended in previous years, and over the succeeding decades members of Sonic Youth, the Doors, Black Flag, the Foo Fighters and the Partridge Family would all attend the school, among many others. But during the period in the late fifties, it had a huge number of students who would go on to define the California lifestyle in the pop culture of the next few years. There was Sandra Dee, who starred in Gidget, the first Beach Party film; Anette Funicello, who starred in most of the other Beach Party films; Randy Newman, who would document another side of California life a few years later; and Nancy Sinatra, who was then just her famous father’s daughter, but who would go on to make a series of magnificent records in the sixties with Lee Hazelwood. And there was a vocal group at the school called the Barons, one of the few interracial vocal groups around at the time. They had a black lead singer, Chuck Steele, a Japanese tenor, Wally Yagi, two Jewish boys, Arnie Ginsburg and John Saligman, and two white kids, Jan Berry — who was the leader of the group, and Dean Torrence, his friend who could sing a little falsetto. As they were all singers, they were backed by three instrumentalists who also went to the school — Berry’s neighbour Bruce Johnston on piano, Torrence’s neighbour Sandy Nelson on drums, and Nelson’s friend Dave Shostac on saxophone. This group played several gigs together, but slowly split apart as people’s mothers wanted them to concentrate on school, or they got cars that they wanted to fix up. In Sandy Nelson’s case he was sacked by Berry for playing his drums so loud — as he packed up his kit for the last time, he told Berry, “You’ll see, I’m going to have a hit record that’s *only* drums”. Slowly they were whittled down to three people — Berry, Torrence, and Ginsburg, with occasional help from Berry’s friend Don Altfeld. The Barons cut a demo tape of a song about a prominent local stripper, named Jennie Lee, but then Torrence decided to sign up with the Army. He’d discovered that if he did six months’ basic training and joined the Army Reserves, he would be able to avoid being drafted a short while later. He thought that six months sounded a lot better than two years, so signed up, and he was on basic training when he heard a very familiar sounding record on the radio: [Excerpt: Jan and Arnie, “Jennie Lee”] He was surprised to hear it, and also surprised to hear it credited to “Jan and Arnie” rather than “the Barons”. He called Berry, who told him that no, it was a completely new recording — though Torrence was absolutely certain that he could hear his own voice on there as well. What had happened, according to Jan, was that there’d been a problem with the tape, and he and Arnie had decided to rerecord it. He’d then gone into a professional studio to get the tape cut into an acetate, so he could play it at parties, and someone in the next room had happened to hear it — and that someone happened to be Joe Lubin. Lubin was the Vice President of Arwin Records, a label owned by Marty Melcher, Doris Day’s husband. He told Berry that he would make Jan and Arnie bigger than the Everly Brothers, but Jan didn’t believe him, though he let him have a copy of the disc. Jan took his copy to play at a friend’s party, where it went down well. That friend was Craig Bruderlin, who later changed his name to James Brolin and became a major film star. Presumably Bruderlin’s best friend Ryan O’Neal, who also went to University High, was there as well. I told you, University High School had a lot of future stars. And Jan and Arnie became two more of those stars. Joe Lubin overdubbed extra instruments on the track and released it. He didn’t quite make them bigger than the Everly Brothers, but for a while they were almost as big — at one point, the Everly Brothers were at number one in the charts, number two was Sheb Wooley with “The Purple People Eater”, and number three was Jan and Arnie with “Jennie Lee”. And Dean Torrence was off in the Army, regretting his choices. We’ll be picking up on what happened with those three in a few months’ time… But what of the other Barons? The instrumentalists, Bruce Johnston, Dave Shostac, and Sandy Nelson, formed their own band, the Sleepwalkers, with various guitarists sitting in, often a young blues player called Henry Vestine, who had already started taking LSD at this time, though none of the other band members indulged. They would often play parties organised by another University High student, Kim Fowley. Now, Fowley is the person who spoke most about this time on the record, but he was also possibly the least honest person involved in this episode (and, if the accusations made about him since his death are true, also one of the most despicable people in this episode, which is quite a high bar…), so take this with a grain of salt. But Fowley claimed in later years that these parties were his major source of income — that he would hire sex workers to take fellow University High students who had big houses off to a motel to have sex with them. While the students were otherwise occupied, Fowley would break into their house and move all the furniture, so people could dance, he’d get the band in, and he’d invite everyone to come to the party. Then dope dealers would sell dope to the partygoers, giving Fowley a cut, and meanwhile friends of Fowley’s would be outside breaking into the partygoers’ cars and stealing their stuff. But then Fowley got arrested — according to him, for stealing wine from a liquor store owned by a girlfriend who was twice his age, and selling it to other students at the school. He was given a choice of joining the Army or going to prison, and he chose the Army, on the same deal as Dean Torrence, who he ended up going through some of his training with. Meanwhile, Johnston, Shostac, and Nelson were trying to get signed as a band. They went to see John Dolphin on February the first, 1958. We’ve talked about Dolphin before, in the episodes on Gene and Eunice and the Penguins. Dolphin owned Dolphin’s of Hollywood, the biggest black-owned record store in the LA area, and was responsible for a large part of the success of many of the records we’ve covered, through getting them played on radio shows broadcast from his station. He also owned a series of small labels which would put out one or two singles by an artist before the artist was snapped up by a bigger label. For example, he owned Cash Records, which had put out “Walkin’ Stick Boogie”, by Jerry Capehart and Eddie and Hank Cochran: [Excerpt: Jerry Capehart and the Cochran Brothers, “Walkin’ Stick Boogie”] He also owned a publishing company, which owned the publishing on “Buzz Buzz Buzz” by the Hollywood Flames: [Excerpt: The Hollywood Flames, “Buzz Buzz Buzz”] Johnston, Shostac, and Nelson hoped that maybe they could get signed to one of Dolphin’s labels, but they chose the worst possible day to do it. While they were waiting to see Dolphin, they got talking to an older man, Percy Ivy, who started to tell them that Dolphin couldn’t be trusted and that he owed Ivy a lot of money. They were used to hearing this kind of thing about people in the music business, and decided they’d go in to see Dolphin anyway. When they did, Ivy came in with them. What happened next is told differently by different people. What’s definitely the case is that Ivy and Dolphin got into a heated row. Ivy claimed that Dolphin pulled a knife on him. Witness statements seem confused on the matter, but most say that all that Dolphin had in his hand was a cigar. Ivy pulled out a gun and shot Dolphin — one shot also hit Shostac in the leg. Sandy Nelson ran out of the room to get help. Johnston comforted the dying Dolphin, but by the time Nelson got back, he was busily negotiating with Ivy, talking about how they were going to make a record together when Ivy got out of jail. One presumes he was trying to humour Ivy, to make sure nobody else got shot. Obviously, with John Dolphin having died, he wasn’t going to be running a record company any more. The shop part of his business was, from then on, managed by his assistant, a failed singer called Rudy Ray Moore who later went on to become famous playing the comedy character Dolemite. Then the Sleepwalkers got a call from another acquaintance. Kip Tyler had a band called the Flips who had had some moderate success with rockabilly records produced by Milt Gabler. And this is one of the points where the conflicting narratives become most confusing. According to every one of the few articles I can find about Tyler, before forming the Flips he was the lead singer of the Sleepwalkers, the toughest rock and roll band in the school, when he was at Union High School. According to those same articles, he was born in 1929. So either there were two bands at Union High School, a decade apart, called the Sleepwalkers, one of which was a rock and roll band before the term had been coined; or Tyler was still at high school aged twenty-eight; or someone is deeply mistaken somewhere. Kip and the Flips didn’t have much recording success, and kept moving to smaller and smaller labels, but they were considered a hot band in LA — in particular, they were the house band at Art Laboe’s regular shows at El Monte stadium — the shows which would later be immortalised by the Penguins in “Memories of El Monte”. [Excerpt: The Penguins, “Memories of El Monte”] But then the group’s piano player, Larry Knechtel, saxophone player, Steve Douglas, and drummer, Mike Bermani, all left to join Duane Eddy’s group. Kim Fowley was by this point a roadie and general hanger-on for the Flips, and he happened to know a piano player, a saxophone player, and a drummer who were looking for a gig, and so the Sleepwalkers joined Kip Tyler and guitarist Mike Deasy in the Flips, and took over that role performing at El Monte, performing themselves but also backing other musicians, like Ritchie Valens, who played at these shows. Sandy Nelson didn’t stay long in the Flips, though — he was replaced by another drummer, Jim Troxel, and it was this lineup, with extra sax from Duane Eddy’s sax player Jim Horn, that recorded “Rumble Rock”: [Excerpt: Kip Tyler, “Rumble Rock”] Nelson’s departure from the group coincided with him starting to get a great deal of session work from people who had seen him play live. One of those people was a young man named Harvey Philip Spector, who went by his middle name. Spector went to Fairfax High, a school which had a strong rivalry with University High and produced a similarly ludicrous list of famous people, and he’d got his own little clique of people around him with whom he was making music. These included his best friend Marshall Leib, and sometimes also Leib’s girlfriend’s younger brother Russ Titelman. Spector and Leib had formed a vocal group, the Teddy Bears, with a girl they knew who then went by a different name but is now called Carol Connors. Their first single was called “To Know Him Is To Love Him”, inspired by the epitaph on Spector’s father’s grave: [Excerpt: The Teddy Bears, “To Know Him is to Love Him”] Sandy Nelson played the drums on that, and the track went to number one. I’ve also seen some credits say that Bruce Johnston played the bass on it, but at the time Johnston wasn’t a bass player, so this seems unlikely. Even though Nelson’s playing on the track is absolutely rudimentary, it gave him the cachet to get other gigs, for example playing on Gene Vincent’s “Crazy Times” LP: [Excerpt: Gene Vincent, “She She Little Sheila”] Another record Nelson played on reunited him with Bruce Johnston. Kim Fowley was by this point doing some work for American International Pictures, and was asked to come up with an instrumental for a film called Ghost of Dragstrip Hollow, a film about a drag-racing club that have a Halloween party inside a deserted mansion but then discover a real monster has shown up. It’s not as fun as it sounds. A songwriter friend of Fowley’s named Nik Venet is credited with writing “Geronimo”, although Richie Polodor, the guitarist and bass player on the session says he came up with it. Polodor said “There are three guys in the business who really have no scruples whatsoever. They are Bruce Johnston, Kim Fowley and Sandy Nelson. And I was Mr. Scruples… I wrote both Geronimo and Charge, but they were taken away from me. It was all my stuff, but between Nik Venet, Kim Fowley and Bruce Johnston I had no chance. It was cut in my studio. I did all the guitars. I wrote it all and Nik Venet walked away with the credit.” Venet did the howls on the track, Johnston played piano, Nelson drums, Polodor guitar and bass, and Fowley produced: [Excerpt: The Renegades, “Geronimo”] Meanwhile, Phil Spector had become disenchanted with being in the Teddy Bears, and had put together a solo instrumental single, under the name Phil Harvey: [Excerpt: Phil Harvey, “Bumbershoot”] Spector wanted a band to play a gig to promote that single, and he put together the Phil Harvey band from the members of another band that Marshall Leib had been in before joining the Teddy Bears. The Moon Dogs had consisted of a singer called Jett Power, guitarists Derry Weaver and Elliot Ingber, and bass player Larry Taylor, along with Leib. Taylor and Ingber joined the Phil Harvey band, along with keyboard player Howard Hirsch, and drummer Rod Schaffer. The Phil Harvey band only played one gig — the band’s concept was apparently a mix of Duane Eddy style rock guitar instrumentals and complex jazz, with the group all dressed as mobsters — but Kim Fowley happened to be there and liked what he saw, and made a note of some of those musicians as people to work with. Spector, meanwhile, had decided to use his connection with Lester Sill to go and work with Leiber and Stoller, and we’ll be picking up that story in a couple of months. Meanwhile, Derry Weaver from the Moon Dogs had started to date Mary Jo Sheeley, the sister of Sharon Sheeley, and Sharon started to take an interest in her little sister’s boyfriend and his friends. She suggested that Jett Power change his name to P.J. Proby, and she would regularly have him sing on the demos of her songs in the sixties: [Excerpt: P.J. Proby, “The Other Side of Town”] And she introduced Weaver to Eddie Cochran and Jerry Capehart. Cochran taught Weaver several of the guitar licks he used, and Capehart produced a session for Weaver with Cochran on guitar, Jim Stivers on piano, Guybo Smith on bass and Gene Riggio on drums: [Excerpt: Derry Weaver, “Bad Baby Doll”] That track was not released until decades later, but several other songs by Weaver, with no Cochran involvement, were released on Capehart’s own label (under the misspelled name Darry Weaver), and Capehart was Weaver’s manager for a little while. Weaver was actually living at the Sheeley residence when they received the phone call saying that Eddie had died and Sharon was in hospital, and it haunted him deeply for the rest of his life. Another record on which Guybo Smith played at this time was one by Sandy Nelson. The Flips had split up by this point — Mike Deasy had gone on to join Eddie Cochran’s backing band, and Bruce Johnston was playing on random sessions, so he was here for what was going to be Nelson’s “single that was only drums”. It wasn’t quite only drums — as well as Nelson on drums, there was Smith on bass, Johnston on piano, and Polodor on guitar. The musicians on the record have said they all deserved songwriting credit for it, but the writing credit went to Art Laboe and Nelson: [Excerpt: Sandy Nelson, “Teen Beat”] “Teen Beat” went to number four on the charts, and Nelson had a handful of other hits under his own name, including “Let There Be Drums”. Less successful was a ballad released under the name “Bruce and Jerry”, released on Arwin records after the owner’s son, Terry Melcher, had remembered seeing the Sleepwalkers, and was desperate for some more rock and roll success on the label like Jan and Arnie, even though Melcher was a student at Beverly High and, like Fairfax, everyone at Beverly hated people at University High. “Take This Pearl” was sung by Johnston and Jerry Cooper, with backing by Johnston, Shostac, Deasy, Nelson, and bass player Harper Cosby, who would later play for Sam Cooke: [Excerpt: Bruce and Jerry, “Take This Pearl”] “Take This Pearl” by Bruce and Jerry did nothing, but Terry Melcher did think that name sounded good, except maybe it should be Terry instead of Jerry… Meanwhile, Nik Venet had got a production role at World Pacific Records, and he wanted to put together yet another studio group. And this is where some of the confusion comes in. Because this record was important, and everyone later wanted a piece of the credit. According to Nik Venet, the Gamblers were originally going to be called Nik and the Gamblers, and consisted of himself, Bruce Johnston, Sandy Nelson, Larry Taylor, and the great guitarist James Burton, with Richie Polodor engineering, and Kim Fowley involved somehow. Meanwhile, Fowley says he was not involved at all — and given that this is about the only record in the history of the world that Fowley ever said he *wasn’t* on, I tend to believe him. Elliot Ingber said that the group was Ingber, Taylor, Derry Weaver, Howard Hirsch, and Rod Schaffer. Bruce Johnston says he has no memory of the record. I don’t know if anyone’s ever asked James Burton about it, but it doesn’t sound like him playing. Given that the A-side is called “Moon Dawg”, that Weaver and Taylor were in a band called The Moondogs that used to play a song called “Moon Dog”, and that Weaver is credited as the writer, I think we can assume that the lead guitar is Derry Weaver, and that Elliot Ingber’s list of credits is mostly correct. But on the other hand, one of the voices singing the wordless harmonies sounds *very* much like Bruce Johnston to me, and he has a very distinctive voice that I know extremely well. so my guess is that the Gamblers on this occasion were Derry Weaver, Larry Taylor, Elliot Ingber, Bruce Johnston, and either Rod Schaffer or Sandy Nelson — probably Schaffer, since no-one other than Venet has credited Nelson with being there. I suspect Ingber is understandably misremembering Howard Hirsch being there because Hirsch *did* play on the second Gamblers single. The B-side of the record is credited as written by Weaver and Taylor: [Excerpt: The Gamblers, “LSD-25”] That song is called “LSD-25”, and while we have said over and over that there is no first anything in rock music, this is an exception — that is, without any doubt whatsoever, the first rock and roll record to mention LSD, and so in its way a distant ancestor of psychedelic music. Weaver and Taylor have said in later years that neither of them knew anything about the drug (and it’s very clear that Johnston, who takes a very hardline anti-drugs stance, never indulged) — they’ve said they read a magazine article about acid and liked the name. On the other hand, Henry Vestine was part of the same circle and he was apparently already taking acid by then, though details are vague (every single article I can find about it uses the same phrasing that Wikipedia does, talking of having taken it with “a close musician friend” — who might have been one of the Gamblers, but who might not). So the B-side was a milestone in rock music history, and in a different way so was the A-side, just written by Weaver: [Excerpt: The Gamblers, “Moon Dawg”] “Moon Dawg” was a local hit, but sold nothing anywhere outside Southern California, and there were a couple of follow-ups by different lineups of Gamblers, featuring some but never all of the same musicians, along with other people we’ve mentioned like Fowley. The Gamblers stopped being a thing, and Derry Weaver went off to join another group. Kim Fowley and his friend Gary Paxton had put together a novelty record, “Alley Oop”, under the name The Hollywood Argyles, which featured Gaynel Hodge on piano and Sandy Nelson banging a bin lid: [Excerpt: The Hollywood Argyles, “Alley Oop”] That became a hit, and they had to put together a band to tour as the Hollywood Argyles, and Weaver became one of them, as did Marshall Leib. After that Weaver hooked up again with Nik Venet, who started getting him regular session work, as Venet had taken a job at Capitol Records. And Venet doing that suddenly meant that “Moon Dawg” became very important indeed. Even though it had been only a minor success, because Venet owned the rights to the master tape, and also the publishing rights, he got “Moon Dawg” stuck on a various-artists compilation album put out on Capitol, Golden Gassers, which featured big acts like Sam Cooke and the Four Preps, and which exposed the song to a wider audience. Cover versions of it started to sprout up, by people like the Ventures, the Surfaris, and the Beach Boys — Larry Taylor’s brother Mel was the drummer for the Ventures, which might have helped bring the track to their attention, while Nik Venet was the Beach Boys’ producer. Indeed, some have claimed that Derry Weaver played on the Beach Boys’ version — he’s credited on the session sheets, but nobody involved with the session has ever said if it was actually him, or whether that was just Venet putting down a friend’s name to claim some extra money: [Excerpt: The Beach Boys, “Moon Dawg”] While there had been twangy guitar instrumentals before “Moon Dawg”, and as I said, there’s never a first anything, historians of the surf music genre now generally point to it as the first surf music record ever, and it’s as good a choice as any. We won’t be seeing anything more from Derry Weaver, who fell into obscurity after a few years of session work, but Bruce Johnston, Larry Taylor, Elliot Ingber, Henry Vestine, Nik Venet, Kim Fowley, Phil Spector, Jan Berry, Terry Melcher, and Dean Torrence will be turning up throughout the sixties, and in some cases later. The records we looked at today were the start of a California music scene that would define American pop music in the sixties. As a final note, I mentioned Gaynel Hodge as the piano player on “Alley Oop”. As I was in the middle of writing this episode, I received word that Hodge had died earlier this week. As people who’ve listened to earlier episodes of this podcast will know, Gaynel Hodge was one of the most important people in the fifties LA vocal group scene, and without him there would have been no Platters, Penguins, or Jesse Belvin. He was also one of the few links between that fifties world of black R&B musicians and the white-dominated sixties LA pop music scene of surf, hot rods, folk rock, and sunshine. He’s unlikely to turn up again in more than minor roles in future episodes, but I’ve made this week’s Patreon episode be on another classic record he played on. As well as being an important musician in his own right, Hodge was someone without whom almost none of the music made in LA in the fifties or sixties would have happened. He’ll be missed.  

Episode eighty-six of A History of Rock Music in Five Hundred Songs looks at "LSD-25" by the Gamblers, the first rock song ever to namecheck acid, and a song by a band so obscure no photos exist of them. (The photo here is of the touring lineup of the Hollywood Argyles. Derry Weaver, the Gamblers' lead guitarist, is top left). Patreon backers also have a fifteen-minute bonus episode, on "Papa Oom Mow Mow" by the Rivingtons. Tilt Araiza has assisted invaluably by doing a first-pass edit, and will hopefully be doing so from now on. Check out Tilt's irregular podcasts at http://www.podnose.com/jaffa-cakes-for-proust and http://sitcomclub.com/  ----more---- Resources   As usual, I have put together a Mixcloud mix with every song excerpted in this podcast. This episode, more than most, required tiny bits of information from dozens of sources. Among those I used were the one existing interview with Derry Weaver I have been able to find, Dean Torrence's autobiography , a book about John Dolphin by his son, and He's A Rebel, a biography of Phil Spector by Mark Ribkowsky.  But more than anything else, I used the self-published books by Stephen McParland,  who is the premier expert on surf music, and which you can buy in PDF form here. The ones I used the most were The Beach Boys: Inception and Conception, California Confidential, and Surf & Hot-Rod Music Chronicles: Bull Sessions With the Big Daddy. "LSD-25" is on numerous various-artists compilations of surf music, of which this two-CD set looks like the best value for the casual listener.   Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript On the sixteenth of April, 1943, Albert Hoffman, a research scientist in Zurich, had a curious experience after accidentally touching a tiny speck of the chemical he was experimenting with at the pharmaceutical lab in which he worked, and felt funny afterwards. Three days later, he decided to experiment on himself, and took a tiny dose of the chemical, to see if anything happened. He felt fine at first, but asked a colleague to escort him as he rode home on his bicycle. By the time he got home, he was convinced that his neighbour was a witch and that he had been poisoned. But a few hours later, he felt a little better, though still unusual. As he would later report, "Little by little I could begin to enjoy the unprecedented colors and plays of shapes that persisted behind my closed eyes. Kaleidoscopic, fantastic images surged in on me, alternating, variegated, opening and then closing themselves in circles and spirals, exploding in colored fountains, rearranging and hybridizing themselves in constant flux". The chemical he had taken was a derivative of ergotamine that had been discovered about five years earlier and mostly ignored up until that time, a chemical called D-lysergic acid diethylamide tartrate. Sandoz, the company he worked for, were delighted with this unusual chemical and its effects. They came up with some variants of the molecule without those effects, but which still affected the brain, and marketed those as migraine treatments. The chemical itself, they decided to make available as an experimental drug for psychiatrists and psychologists who wanted to investigate unusual states of consciousness. It found some uptake, among experimenters who wished to experience psychotic symptoms in a controlled environment in order to get a better understanding of their patients, or who wanted to investigate neurochemistry, and it had some promise as a treatment for alcoholism and various other psychiatric illnesses, and throughout the 1950s it was the subject of much medical research, under the trade name Sandoz came up with for it, Delysid. But in the sixties, it became better known as LSD-25: [Excerpt: The Gamblers, "LSD-25"] There are some records that one can look back at retrospectively and see that while they seemed unimportant at the time, they signalled a huge change in the musical culture. The single "Moon Dawg", backed by "LSD-25", by the Gamblers, is one of those records. Unfortunately, everything about the Gamblers is shrouded in mystery. The story I am going to tell here is the one that I've been able to piece together from stray fragments of recollection from the main participants over the years, but it could very well be wrong. Put it this way, on the record, there are two guitarists, bass, drums, and keyboards. I have seen fifteen people credited as having been members of the group that recorded the track. Obviously, those credits can't all be true, so I'm going to go here with the stories of the people who are most commonly credited, but with the caveat that the people I'm talking about could very easily not have been the people on the record. I have also made mistakes about this single before -- there are a couple of errors in the piece on it in my book California Dreaming. Part of the problem is that almost everyone who has laid claim to being involved in the record is -- or was, as many of them have died -- a well-known credit thief, someone who will happily place themselves at the centre of the story, happily put their name on copyright forms for music with which they had no involvement, and then bitterly complain that they were the real unsung geniuses behind other records, but that some evil credit thief stole all their work. The other people involved -- those who haven't said that everything was them and they did everything -- were for the most part jobbing musicians who, when asked about the record, would not even be sure if they'd played on it, because they played on so many records, and weren't asked about them for decades later. Just as one example, Nik Venet, who is generally credited as the producer of this record, said for years that Derry Weaver, the credited co-composer of the song and the person who is generally considered to have played lead guitar on it, was a pseudonym for himself. Later, when confronted with evidence that Derry Weaver was a real person, he admitted that Weaver *had* been a real person, but claimed that it was still a pseudonym for himself. Venet claimed that Weaver had died in a car crash years earlier, and that as a result he had been able to use his social security number on forms to claim himself extra money he wasn't entitled to as a staff producer. The only problem with that story is that Venet died in 1998, while the real Derry Weaver died in 2013, but Weaver only ever did one interview I've been able to track down, in 2001, so Venet's lies went unchallenged, and many books still claim that Weaver never existed. So today, I'm going to tell the story of a music scene, and use a few people as a focus, with the understanding that they may not be the people on the record we're talking about. I'm going to look at the birth of the surf and hot-rod studio scene in LA, and at Bruce Johnston, Kim Fowley, Derry Weaver, Nik Venet, Sandy Nelson, Elliot Ingber, Larry Taylor, Howard Hirsch, and Rod Schaffer, some or all of whom may or may not have been the Gamblers: [Excerpt: The Gamblers, "Moon Dawg"] Possibly the best place to start the story is at University High School, Los Angeles, in the late 1950s. University High had always had more than its fair share of star students over the years -- Judy Garland, Marilyn Monroe, and Elizabeth Taylor had all attended in previous years, and over the succeeding decades members of Sonic Youth, the Doors, Black Flag, the Foo Fighters and the Partridge Family would all attend the school, among many others. But during the period in the late fifties, it had a huge number of students who would go on to define the California lifestyle in the pop culture of the next few years. There was Sandra Dee, who starred in Gidget, the first Beach Party film; Anette Funicello, who starred in most of the other Beach Party films; Randy Newman, who would document another side of California life a few years later; and Nancy Sinatra, who was then just her famous father's daughter, but who would go on to make a series of magnificent records in the sixties with Lee Hazelwood. And there was a vocal group at the school called the Barons, one of the few interracial vocal groups around at the time. They had a black lead singer, Chuck Steele, a Japanese tenor, Wally Yagi, two Jewish boys, Arnie Ginsburg and John Saligman, and two white kids, Jan Berry -- who was the leader of the group, and Dean Torrence, his friend who could sing a little falsetto. As they were all singers, they were backed by three instrumentalists who also went to the school -- Berry's neighbour Bruce Johnston on piano, Torrence's neighbour Sandy Nelson on drums, and Nelson's friend Dave Shostac on saxophone. This group played several gigs together, but slowly split apart as people's mothers wanted them to concentrate on school, or they got cars that they wanted to fix up. In Sandy Nelson's case he was sacked by Berry for playing his drums so loud -- as he packed up his kit for the last time, he told Berry, "You'll see, I'm going to have a hit record that's *only* drums". Slowly they were whittled down to three people -- Berry, Torrence, and Ginsburg, with occasional help from Berry's friend Don Altfeld. The Barons cut a demo tape of a song about a prominent local stripper, named Jennie Lee, but then Torrence decided to sign up with the Army. He'd discovered that if he did six months' basic training and joined the Army Reserves, he would be able to avoid being drafted a short while later. He thought that six months sounded a lot better than two years, so signed up, and he was on basic training when he heard a very familiar sounding record on the radio: [Excerpt: Jan and Arnie, "Jennie Lee"] He was surprised to hear it, and also surprised to hear it credited to "Jan and Arnie" rather than "the Barons". He called Berry, who told him that no, it was a completely new recording -- though Torrence was absolutely certain that he could hear his own voice on there as well. What had happened, according to Jan, was that there'd been a problem with the tape, and he and Arnie had decided to rerecord it. He'd then gone into a professional studio to get the tape cut into an acetate, so he could play it at parties, and someone in the next room had happened to hear it -- and that someone happened to be Joe Lubin. Lubin was the Vice President of Arwin Records, a label owned by Marty Melcher, Doris Day's husband. He told Berry that he would make Jan and Arnie bigger than the Everly Brothers, but Jan didn't believe him, though he let him have a copy of the disc. Jan took his copy to play at a friend's party, where it went down well. That friend was Craig Bruderlin, who later changed his name to James Brolin and became a major film star. Presumably Bruderlin's best friend Ryan O'Neal, who also went to University High, was there as well. I told you, University High School had a lot of future stars. And Jan and Arnie became two more of those stars. Joe Lubin overdubbed extra instruments on the track and released it. He didn't quite make them bigger than the Everly Brothers, but for a while they were almost as big -- at one point, the Everly Brothers were at number one in the charts, number two was Sheb Wooley with "The Purple People Eater", and number three was Jan and Arnie with "Jennie Lee". And Dean Torrence was off in the Army, regretting his choices. We'll be picking up on what happened with those three in a few months' time... But what of the other Barons? The instrumentalists, Bruce Johnston, Dave Shostac, and Sandy Nelson, formed their own band, the Sleepwalkers, with various guitarists sitting in, often a young blues player called Henry Vestine, who had already started taking LSD at this time, though none of the other band members indulged. They would often play parties organised by another University High student, Kim Fowley. Now, Fowley is the person who spoke most about this time on the record, but he was also possibly the least honest person involved in this episode (and, if the accusations made about him since his death are true, also one of the most despicable people in this episode, which is quite a high bar...), so take this with a grain of salt. But Fowley claimed in later years that these parties were his major source of income -- that he would hire sex workers to take fellow University High students who had big houses off to a motel to have sex with them. While the students were otherwise occupied, Fowley would break into their house and move all the furniture, so people could dance, he'd get the band in, and he'd invite everyone to come to the party. Then dope dealers would sell dope to the partygoers, giving Fowley a cut, and meanwhile friends of Fowley's would be outside breaking into the partygoers' cars and stealing their stuff. But then Fowley got arrested -- according to him, for stealing wine from a liquor store owned by a girlfriend who was twice his age, and selling it to other students at the school. He was given a choice of joining the Army or going to prison, and he chose the Army, on the same deal as Dean Torrence, who he ended up going through some of his training with. Meanwhile, Johnston, Shostac, and Nelson were trying to get signed as a band. They went to see John Dolphin on February the first, 1958. We've talked about Dolphin before, in the episodes on Gene and Eunice and the Penguins. Dolphin owned Dolphin's of Hollywood, the biggest black-owned record store in the LA area, and was responsible for a large part of the success of many of the records we've covered, through getting them played on radio shows broadcast from his station. He also owned a series of small labels which would put out one or two singles by an artist before the artist was snapped up by a bigger label. For example, he owned Cash Records, which had put out "Walkin' Stick Boogie", by Jerry Capehart and Eddie and Hank Cochran: [Excerpt: Jerry Capehart and the Cochran Brothers, "Walkin' Stick Boogie"] He also owned a publishing company, which owned the publishing on "Buzz Buzz Buzz" by the Hollywood Flames: [Excerpt: The Hollywood Flames, "Buzz Buzz Buzz"] Johnston, Shostac, and Nelson hoped that maybe they could get signed to one of Dolphin's labels, but they chose the worst possible day to do it. While they were waiting to see Dolphin, they got talking to an older man, Percy Ivy, who started to tell them that Dolphin couldn't be trusted and that he owed Ivy a lot of money. They were used to hearing this kind of thing about people in the music business, and decided they'd go in to see Dolphin anyway. When they did, Ivy came in with them. What happened next is told differently by different people. What's definitely the case is that Ivy and Dolphin got into a heated row. Ivy claimed that Dolphin pulled a knife on him. Witness statements seem confused on the matter, but most say that all that Dolphin had in his hand was a cigar. Ivy pulled out a gun and shot Dolphin -- one shot also hit Shostac in the leg. Sandy Nelson ran out of the room to get help. Johnston comforted the dying Dolphin, but by the time Nelson got back, he was busily negotiating with Ivy, talking about how they were going to make a record together when Ivy got out of jail. One presumes he was trying to humour Ivy, to make sure nobody else got shot. Obviously, with John Dolphin having died, he wasn't going to be running a record company any more. The shop part of his business was, from then on, managed by his assistant, a failed singer called Rudy Ray Moore who later went on to become famous playing the comedy character Dolemite. Then the Sleepwalkers got a call from another acquaintance. Kip Tyler had a band called the Flips who had had some moderate success with rockabilly records produced by Milt Gabler. And this is one of the points where the conflicting narratives become most confusing. According to every one of the few articles I can find about Tyler, before forming the Flips he was the lead singer of the Sleepwalkers, the toughest rock and roll band in the school, when he was at Union High School. According to those same articles, he was born in 1929. So either there were two bands at Union High School, a decade apart, called the Sleepwalkers, one of which was a rock and roll band before the term had been coined; or Tyler was still at high school aged twenty-eight; or someone is deeply mistaken somewhere. Kip and the Flips didn't have much recording success, and kept moving to smaller and smaller labels, but they were considered a hot band in LA -- in particular, they were the house band at Art Laboe's regular shows at El Monte stadium -- the shows which would later be immortalised by the Penguins in "Memories of El Monte". [Excerpt: The Penguins, "Memories of El Monte"] But then the group's piano player, Larry Knechtel, saxophone player, Steve Douglas, and drummer, Mike Bermani, all left to join Duane Eddy's group. Kim Fowley was by this point a roadie and general hanger-on for the Flips, and he happened to know a piano player, a saxophone player, and a drummer who were looking for a gig, and so the Sleepwalkers joined Kip Tyler and guitarist Mike Deasy in the Flips, and took over that role performing at El Monte, performing themselves but also backing other musicians, like Ritchie Valens, who played at these shows. Sandy Nelson didn't stay long in the Flips, though -- he was replaced by another drummer, Jim Troxel, and it was this lineup, with extra sax from Duane Eddy's sax player Jim Horn, that recorded "Rumble Rock": [Excerpt: Kip Tyler, "Rumble Rock"] Nelson's departure from the group coincided with him starting to get a great deal of session work from people who had seen him play live. One of those people was a young man named Harvey Philip Spector, who went by his middle name. Spector went to Fairfax High, a school which had a strong rivalry with University High and produced a similarly ludicrous list of famous people, and he'd got his own little clique of people around him with whom he was making music. These included his best friend Marshall Leib, and sometimes also Leib's girlfriend's younger brother Russ Titelman. Spector and Leib had formed a vocal group, the Teddy Bears, with a girl they knew who then went by a different name but is now called Carol Connors. Their first single was called "To Know Him Is To Love Him", inspired by the epitaph on Spector's father's grave: [Excerpt: The Teddy Bears, "To Know Him is to Love Him"] Sandy Nelson played the drums on that, and the track went to number one. I've also seen some credits say that Bruce Johnston played the bass on it, but at the time Johnston wasn't a bass player, so this seems unlikely. Even though Nelson's playing on the track is absolutely rudimentary, it gave him the cachet to get other gigs, for example playing on Gene Vincent's "Crazy Times" LP: [Excerpt: Gene Vincent, "She She Little Sheila"] Another record Nelson played on reunited him with Bruce Johnston. Kim Fowley was by this point doing some work for American International Pictures, and was asked to come up with an instrumental for a film called Ghost of Dragstrip Hollow, a film about a drag-racing club that have a Halloween party inside a deserted mansion but then discover a real monster has shown up. It's not as fun as it sounds. A songwriter friend of Fowley's named Nik Venet is credited with writing "Geronimo", although Richie Polodor, the guitarist and bass player on the session says he came up with it. Polodor said "There are three guys in the business who really have no scruples whatsoever. They are Bruce Johnston, Kim Fowley and Sandy Nelson. And I was Mr. Scruples... I wrote both Geronimo and Charge, but they were taken away from me. It was all my stuff, but between Nik Venet, Kim Fowley and Bruce Johnston I had no chance. It was cut in my studio. I did all the guitars. I wrote it all and Nik Venet walked away with the credit." Venet did the howls on the track, Johnston played piano, Nelson drums, Polodor guitar and bass, and Fowley produced: [Excerpt: The Renegades, "Geronimo"] Meanwhile, Phil Spector had become disenchanted with being in the Teddy Bears, and had put together a solo instrumental single, under the name Phil Harvey: [Excerpt: Phil Harvey, "Bumbershoot"] Spector wanted a band to play a gig to promote that single, and he put together the Phil Harvey band from the members of another band that Marshall Leib had been in before joining the Teddy Bears. The Moon Dogs had consisted of a singer called Jett Power, guitarists Derry Weaver and Elliot Ingber, and bass player Larry Taylor, along with Leib. Taylor and Ingber joined the Phil Harvey band, along with keyboard player Howard Hirsch, and drummer Rod Schaffer. The Phil Harvey band only played one gig -- the band's concept was apparently a mix of Duane Eddy style rock guitar instrumentals and complex jazz, with the group all dressed as mobsters -- but Kim Fowley happened to be there and liked what he saw, and made a note of some of those musicians as people to work with. Spector, meanwhile, had decided to use his connection with Lester Sill to go and work with Leiber and Stoller, and we'll be picking up that story in a couple of months. Meanwhile, Derry Weaver from the Moon Dogs had started to date Mary Jo Sheeley, the sister of Sharon Sheeley, and Sharon started to take an interest in her little sister's boyfriend and his friends. She suggested that Jett Power change his name to P.J. Proby, and she would regularly have him sing on the demos of her songs in the sixties: [Excerpt: P.J. Proby, "The Other Side of Town"] And she introduced Weaver to Eddie Cochran and Jerry Capehart. Cochran taught Weaver several of the guitar licks he used, and Capehart produced a session for Weaver with Cochran on guitar, Jim Stivers on piano, Guybo Smith on bass and Gene Riggio on drums: [Excerpt: Derry Weaver, "Bad Baby Doll"] That track was not released until decades later, but several other songs by Weaver, with no Cochran involvement, were released on Capehart's own label (under the misspelled name Darry Weaver), and Capehart was Weaver's manager for a little while. Weaver was actually living at the Sheeley residence when they received the phone call saying that Eddie had died and Sharon was in hospital, and it haunted him deeply for the rest of his life. Another record on which Guybo Smith played at this time was one by Sandy Nelson. The Flips had split up by this point -- Mike Deasy had gone on to join Eddie Cochran's backing band, and Bruce Johnston was playing on random sessions, so he was here for what was going to be Nelson's "single that was only drums". It wasn't quite only drums -- as well as Nelson on drums, there was Smith on bass, Johnston on piano, and Polodor on guitar. The musicians on the record have said they all deserved songwriting credit for it, but the writing credit went to Art Laboe and Nelson: [Excerpt: Sandy Nelson, "Teen Beat"] "Teen Beat" went to number four on the charts, and Nelson had a handful of other hits under his own name, including "Let There Be Drums". Less successful was a ballad released under the name "Bruce and Jerry", released on Arwin records after the owner's son, Terry Melcher, had remembered seeing the Sleepwalkers, and was desperate for some more rock and roll success on the label like Jan and Arnie, even though Melcher was a student at Beverly High and, like Fairfax, everyone at Beverly hated people at University High. "Take This Pearl" was sung by Johnston and Jerry Cooper, with backing by Johnston, Shostac, Deasy, Nelson, and bass player Harper Cosby, who would later play for Sam Cooke: [Excerpt: Bruce and Jerry, "Take This Pearl"] "Take This Pearl" by Bruce and Jerry did nothing, but Terry Melcher did think that name sounded good, except maybe it should be Terry instead of Jerry... Meanwhile, Nik Venet had got a production role at World Pacific Records, and he wanted to put together yet another studio group. And this is where some of the confusion comes in. Because this record was important, and everyone later wanted a piece of the credit. According to Nik Venet, the Gamblers were originally going to be called Nik and the Gamblers, and consisted of himself, Bruce Johnston, Sandy Nelson, Larry Taylor, and the great guitarist James Burton, with Richie Polodor engineering, and Kim Fowley involved somehow. Meanwhile, Fowley says he was not involved at all -- and given that this is about the only record in the history of the world that Fowley ever said he *wasn't* on, I tend to believe him. Elliot Ingber said that the group was Ingber, Taylor, Derry Weaver, Howard Hirsch, and Rod Schaffer. Bruce Johnston says he has no memory of the record. I don't know if anyone's ever asked James Burton about it, but it doesn't sound like him playing. Given that the A-side is called "Moon Dawg", that Weaver and Taylor were in a band called The Moondogs that used to play a song called "Moon Dog", and that Weaver is credited as the writer, I think we can assume that the lead guitar is Derry Weaver, and that Elliot Ingber's list of credits is mostly correct. But on the other hand, one of the voices singing the wordless harmonies sounds *very* much like Bruce Johnston to me, and he has a very distinctive voice that I know extremely well. so my guess is that the Gamblers on this occasion were Derry Weaver, Larry Taylor, Elliot Ingber, Bruce Johnston, and either Rod Schaffer or Sandy Nelson -- probably Schaffer, since no-one other than Venet has credited Nelson with being there. I suspect Ingber is understandably misremembering Howard Hirsch being there because Hirsch *did* play on the second Gamblers single. The B-side of the record is credited as written by Weaver and Taylor: [Excerpt: The Gamblers, "LSD-25"] That song is called "LSD-25", and while we have said over and over that there is no first anything in rock music, this is an exception -- that is, without any doubt whatsoever, the first rock and roll record to mention LSD, and so in its way a distant ancestor of psychedelic music. Weaver and Taylor have said in later years that neither of them knew anything about the drug (and it's very clear that Johnston, who takes a very hardline anti-drugs stance, never indulged) -- they've said they read a magazine article about acid and liked the name. On the other hand, Henry Vestine was part of the same circle and he was apparently already taking acid by then, though details are vague (every single article I can find about it uses the same phrasing that Wikipedia does, talking of having taken it with "a close musician friend" -- who might have been one of the Gamblers, but who might not). So the B-side was a milestone in rock music history, and in a different way so was the A-side, just written by Weaver: [Excerpt: The Gamblers, "Moon Dawg"] "Moon Dawg" was a local hit, but sold nothing anywhere outside Southern California, and there were a couple of follow-ups by different lineups of Gamblers, featuring some but never all of the same musicians, along with other people we've mentioned like Fowley. The Gamblers stopped being a thing, and Derry Weaver went off to join another group. Kim Fowley and his friend Gary Paxton had put together a novelty record, "Alley Oop", under the name The Hollywood Argyles, which featured Gaynel Hodge on piano and Sandy Nelson banging a bin lid: [Excerpt: The Hollywood Argyles, "Alley Oop"] That became a hit, and they had to put together a band to tour as the Hollywood Argyles, and Weaver became one of them, as did Marshall Leib. After that Weaver hooked up again with Nik Venet, who started getting him regular session work, as Venet had taken a job at Capitol Records. And Venet doing that suddenly meant that "Moon Dawg" became very important indeed. Even though it had been only a minor success, because Venet owned the rights to the master tape, and also the publishing rights, he got "Moon Dawg" stuck on a various-artists compilation album put out on Capitol, Golden Gassers, which featured big acts like Sam Cooke and the Four Preps, and which exposed the song to a wider audience. Cover versions of it started to sprout up, by people like the Ventures, the Surfaris, and the Beach Boys -- Larry Taylor's brother Mel was the drummer for the Ventures, which might have helped bring the track to their attention, while Nik Venet was the Beach Boys' producer. Indeed, some have claimed that Derry Weaver played on the Beach Boys' version -- he's credited on the session sheets, but nobody involved with the session has ever said if it was actually him, or whether that was just Venet putting down a friend's name to claim some extra money: [Excerpt: The Beach Boys, "Moon Dawg"] While there had been twangy guitar instrumentals before "Moon Dawg", and as I said, there's never a first anything, historians of the surf music genre now generally point to it as the first surf music record ever, and it's as good a choice as any. We won't be seeing anything more from Derry Weaver, who fell into obscurity after a few years of session work, but Bruce Johnston, Larry Taylor, Elliot Ingber, Henry Vestine, Nik Venet, Kim Fowley, Phil Spector, Jan Berry, Terry Melcher, and Dean Torrence will be turning up throughout the sixties, and in some cases later. The records we looked at today were the start of a California music scene that would define American pop music in the sixties. As a final note, I mentioned Gaynel Hodge as the piano player on "Alley Oop". As I was in the middle of writing this episode, I received word that Hodge had died earlier this week. As people who've listened to earlier episodes of this podcast will know, Gaynel Hodge was one of the most important people in the fifties LA vocal group scene, and without him there would have been no Platters, Penguins, or Jesse Belvin. He was also one of the few links between that fifties world of black R&B musicians and the white-dominated sixties LA pop music scene of surf, hot rods, folk rock, and sunshine. He's unlikely to turn up again in more than minor roles in future episodes, but I've made this week's Patreon episode be on another classic record he played on. As well as being an important musician in his own right, Hodge was someone without whom almost none of the music made in LA in the fifties or sixties would have happened. He'll be missed.  

Art on the Air is pleased to present a special interview with internationally-known multidisciplinary artist Sheb Wooley!From his bio:"Sheb Wooley primarily works in the medium of raw materials from a classical standpoint, bringing lofty aesthetics to earth by engaging urbanistic methodologies. Making a statement of the environment with tools of the world by cultivating transparent mappings. His recent work, in his hometown of Ludowici, Georgia, was titled “Cream for a Day”, an interactive installation where visitors driving through would experience, in textures, smells, and screen projections, becoming a cake. From primary materials, through the baking process, and completing the journey with a light, fluffy icing made with the natural elements from the area. Mr. Wooley’s next project on the horizon is named “Mudder”, set to be in Savannah, Georgia, downtown at Forsyth Park, and will be a humble tribute to the roots of the lowcountry region with a medium of modern days. His creations have appeared in municipalities throughout the world, in remote settings, and have gained critical recognition and acclaim."TUNE IN!

Episode sixty-nine of A History of Rock Music in Five Hundred Songs looks at "Fujiyama Mama" by Wanda Jackson, and the first rock and roller to become "big in Japan" 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 "Purple People Eater" by Sheb Wooley.  ----more---- Resources As always, I've created a Mixcloud streaming playlist with full versions of all the songs in the episode.   I have two main sources for this eposode. One is Wanda Jackson's autobiography, Every Night is Saturday Night. The other is this article on "Fujiyama Mama", which I urge everyone to read, as it goes into far more detail about the reasons why the song had the reception it did in Japan.   And this compilation collects most of Jackson's important early work.   Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript Before we begin this episode, a minor content note. I am going to be looking at a song that is, unfortunately, unthinkingly offensive towards Japanese people and culture. If that – or flippant lyrics about the bombings of Hiroshima or Nagasaki – are likely to upset you, be warned. When we left Wanda Jackson six months ago, it looked very much like she might end up being a one-hit wonder. "I Gotta Know" had been a hit, but there hadn't been a successful follow-up. In part this was because she was straddling two different genres -- she was trying to find a way to be successful in both the rock and roll and country markets, and neither was taking to her especially well. In later years, it would be recognised that the music she was making combined some of the best of both worlds -- she was working with a lot of the musicians on the West Coast who would later go on to become famous for creating the Bakersfield Sound, and changing the whole face of country music, and her records have a lot of that sound about them. And at the same time she was also making some extremely hot rockabilly music, but she was just a little bit too country for the rock market, and a little bit too rock for the country market. Possibly the place where she fit in best was among the Sun records acts, and so it's not surprising that she ended up towards the bottom of the bill on the long tour that Jerry Lee Lewis, Carl Perkins and Johnny Cash did over much of North America in early 1957 -- the tour on which Jerry Lee Lewis moved from third billed to top of the bill by sheer force of personality. But it says quite a bit about Jackson that while everyone else talking about that tour discusses the way that some of the men did things like throwing cherry bombs at each other's cars, and living off nothing but whisky, Wanda's principal recollection of the tour in her autobiography is of going to church and inviting all the men along, but Jerry Lee being the only one who would come with her. To a great extent she was shielded from the worst aspects of the men's behaviour by her father, who was still looking after her on the road, and acted as a buffer between her and the worst excesses of her tourmates, but she seems to have been happy with that situation -- she didn't seem to have much desire to become one of the boys, the way many other female rock and roll stars have. She enjoyed making wild-sounding music, but she saw that mostly as a kind of acting -- she didn't think that her onstage persona had to match her offstage behaviour at all. And one of the wildest records she made was "Fujiyama Mama": [Excerpt: Wanda Jackson, "Fujiyama Mama"] "Fujiyama Mama" was written by the rockabilly and R&B songwriter Jack Hammer (whose birth name was the more prosaic Earl Burroughs), who is best known as having been the credited co-writer of "Great Balls of Fire". We didn't talk about him in the episode on that song, because apparently Hammer's only contribution to the song was the title -- he wrote a totally different song with the same title, which Paul Case, who was the music consultant on the film "Jamboree", liked enough to commission Otis Blackwell to write another song of the same name, giving Hammer half the credit. But Hammer did write some songs on his own that became at least moderate successes. For example, he wrote "Rock and Roll Call", which was recorded by Louis Jordan: [Excerpt: Louis Jordan, "Rock and Roll Call"] And "Milkshake Mademoiselle" for Jerry Lee Lewis: [Excerpt, Jerry Lee Lewis, "Milkshake Mademoiselle"] And in 1954, when Hammer was only fourteen, he wrote "Fujiyama Mama", which was originally recorded by Annisteen Allen: [Excerpt: Annisteen Allen, "Fujiyama Mama"] This was a song in a long line of songs about black women's sexuality which lie at the base of rock and roll, though of course, as with several of those songs, it's written by a man, and it's mostly the woman boasting about how much pleasure she's going to give the man -- while it's a sexually aggressive record, this is very much a male fantasy as performed by a woman. Allen was yet another singer in the early days of R&B and rock and roll to have come out of Lucky Millinder's orchestra -- she had been his female singer in the late forties, just after Rosetta Tharpe had left the group, and while Wynonie Harris was their male singer. She'd sung lead on what turned out to be Millinder's last big hit, "I'm Waiting Just For You": [Excerpt: Lucky Millinder and his orchestra, "I'm Waiting Just For You"] After she left Millinder's band, Allen recorded for a variety of labels, with little success, and when she recorded "Fujiyama Mama" in 1954 she was on Capitol -- this was almost unique at the time, as her kind of R&B would normally have come out on King or Apollo or Savoy or a similar small label. In its original version, "Fujiyama Mama" wasn't a particularly successful record, but Wanda Jackson heard it on a jukebox and fell in love with the record. She quickly learned the song and added it to her own act. In 1957, Jackson was in the studio recording a country song called "No Wedding Bells for Joe", written by a friend of hers called Marijohn Wilkin, who would later go on to write country classics like "Long Black Veil": [Excerpt: Wanda Jackson, "No Wedding Bells For Joe"] For the B-side, Jackson wanted to record "Fujiyama Mama", but Ken Nelson was very concerned -- the lyrics about drinking, smoking, and shooting were bad enough for a girl who was not yet quite twenty, the blatant female sexuality was not something that would go down well at all in the country market, and lyrics like "I've been to Nagasaki, Hiroshima too/The things I did to them I can do to you" were horribly tasteless -- and remember, this was little more than a decade after the bombs were dropped on those cities. Nelson really, really, disliked the song, and didn't want Jackson to record it, and while I've been critical of Nelson for making poor repertoire choices for his artists -- Nelson was someone with a great instinct for performers, but a terrible instinct for material -- I can't say I entirely blame him in this instance. But Wanda overruled him -- and then, when he tried to tone down her performance in the studio, she rebelled against that, with the encouragement of her father, who told her "You're the one who wanted to do it, so you need to do it your way". In the last episode about Jackson, we talked about how she'd tried to do her normal growling roar on "Hot Dog! That Made Him Mad!" but was let down by having drunk milk before recording the song. This time, she had no problem, and for the first time in the studio she sang in the voice that she used for her rock and roll songs on stage: [Excerpt: Wanda Jackson, "Fujiyama Mama"] To my ears, Jackson's version of the song is still notably inferior to Allen's version, but it's important to note that this isn't a Georgia Gibbs style white person covering a black artist for commercial success at the instigation of her producer, and copying the arrangement precisely, this is a young woman covering a record she loved, and doing it as a B-side. There's still the racial dynamic at play there, but this is closer to Elvis doing "That's All Right" than to Georgia Gibbs ripping off LaVern Baker or Etta James. It's also closer to Elvis than it is to Eileen Barton, who was the second person to have recorded the song. Barton was a novelty singer, whose biggest hit was "If I Knew You Were Coming I'd Have Baked a Cake" from 1950: [Excerpt: Eileen Barton, "If I Knew You Were Coming I'd Have Baked a Cake"] Barton's version of "Fujiyama Mama" was the B-side to a 1955 remake of "If I Knew You Were Coming I'd Have Baked a Cake", redone as a blues. I've not actually been able to track down a copy of that remake, so I can't play an excerpt -- I'm sure you're all devastated by that. Barton's version, far more than Jackson's, was a straight copy of the original, though the arranger on her version gets rid of most of the Orientalisms in Allen's original recording: [Excerpt: Eileen Barton, "Fujiyama Mama"] I think the difference between Barton's and Jackson's versions simply comes down to their sincerity. Barton hated the song, and thought of it as a terrible novelty tune she was being forced to sing. She did a competent professional job, because she was a professional vocalist, but she would talk later in interviews about how much she disliked the record. Jackson, on the other hand, pushed to do the song because she loved it so much, and she performed the song as she wanted it to be done, and against the wishes of her producer. For all the many, many problematic aspects of the song, which I won't defend at all, that passion does show through in Jackson's performance of it. Jackson's single was released, and did absolutely nothing sales-wise, as was normal for her records at this point. Around this time, she also cut her first album, and included on it a cover version of a song Elvis had recently recorded, "Party", which in her version was retitled "Let's Have a Party": [Excerpt: Wanda Jackson, "Let's Have a Party"] That album also did essentially nothing, and while Jackson continued releasing singles throughout 1958, none of them charted. Ken Nelson didn't even book her in for a single recording session in 1959 -- by that point they'd got enough stuff already recorded that they could keep releasing records by her until her contract ran out, and they didn't need to throw good money after bad by paying for more studio sessions to make records that nobody was going to buy. And then something really strange happened. "Fujiyama Mama" became hugely successful in Japan. Now, nobody seems to have adequately explained quite how this happened. After all, this record was... not exactly flattering about Japanese people, and its first couple of lines seem to celebrate the bombings of Hiroshima and Nagasaki. And it's not as if they didn't know what was being sung. While obviously Jackson was singing in English and most listeners in Japan couldn't speak English, there was a Japanese translation of the lyrics printed on the back sleeve of the single, so most people would at least have had some idea what she was singing about. Yet somehow, the record made number one in Japan. In part, this may just have been simply because any recognition of Japanese culture from an American artist at all might have been seen as a novelty. But also, while in the USA pretty much all the rock and roll hits were sung by men, Japan was developing its own rock and roll culture, and in Japan, most of the big rock and roll stars were teenage girls, of around the same age as Wanda Jackson. Now, I am very far from being an expert on post-war Japanese culture, so please don't take anything I say on the subject as being any kind of definitive statement, but from the stuff I've read (and in particular from a very good, long, article on this particular song that I'm going to link in the liner notes and which I urge you all to read, which goes into the cultural background a lot more than I can here) it seems as if these girls were, for the most part, groomed as manufactured pop stars, and that many of them were recording cover versions of songs in English, which they learned phonetically from the American recordings. For example, here's Izumi Yukimura's version of "Ko Ko Mo": [Excerpt: Izumi Yukimura, "Ko Ko Mo"] In many of these versions, they would sing a verse in the original English, and then a verse in Japanese translation, as you can again hear in that recording: [Excerpt: Izumi Yukimura, "Ko Ko Mo"] Izumi Yuklmura also recorded a version of "Fujiyama Mama", patterned after Jackson's: [Excerpt: Izumi Yukimura, "Fujiyama Mama"] There are many, many things that can be said about these recordings, but the thing that strikes me about them, just as a music listener, and separate from everything else, is how comparatively convincing a rock and roll recording that version of "Fujiyama Mama" actually is. When you compare it to the music that was coming out of places like the UK or Australia or France, it's far more energetic, and shows a far better understanding of the idiom. It's important to note though that part of the reason for this is the peculiar circumstances in Japan at the time. Much of the Japanese entertainment industry in the late forties and fifties had grown up around the US occupying troops who were stationed there after the end of World War II, and those servicemen were more interested in seeing pretty young girls than in seeing male performers. But this meant two things -- it firstly meant that young women were far more likely to be musical performers in Japan than in the US, and it also meant that the Japanese music industry was geared to performers who were performing in American styles -- and so Japanese listeners were accustomed to hearing things like this: [Excerpt: Chiemi Eri, "Rock Around the Clock"] So when a recording by a young woman singing about Japan, however offensively, in a rock and roll style, was released in Japan, the market was ready for it. While in America rock and roll was largely viewed as a male music, in Japan, they were ready for Wanda Jackson. And Jackson, in turn, was ready for Japan. In her autobiography she makes clear that she was the kind of person who would nowadays be called a weeb -- having a fascination with Japanese culture, albeit the stereotyped version she had learned from pop culture. She had always wanted to visit Japan growing up, and when she got there she was amazed to find that they were organising a press conference for her, and that wherever she went there were fans wanting her autograph. Jackson, of course, had no idea about the complex relationship that Japan was having at the time with American culture -- though in her autobiography she talks about visiting a bar over there where Japanese singers were performing country songs -- she just knew that they had latched on, for whatever reason, to an obscure B-side and given her a second chance at success. When Jackson got back from Japan, she put together her own band for the first time -- and unusually for country music at the time, it was an integrated band, with a black pianist. She had to deal with some resistance from her mother, who was an older Southern white woman, but eventually managed to win her round. That pianist, Big Al Downing, later went on to have his own successful career, including a hit single duetting with Esther Phillips: [Excerpt Big Al Downing and Little Esther Phillips, "You'll Never Miss Your Water Until The Well Runs Dry"] Downing also had disco hits in the early seventies, and later had a run of hits on the country charts. Jackson also took on a young guitarist named Roy Clark, who would go on to have a great deal of success himself, as one of the most important instrumentalists in country music, and Clark would later co-star in the hit TV show Hee-Haw, with Buck Owens (who had played on many of Jackson's earlier records). In 1960, Jackson returned to the studio. While she'd not had much commercial success in the US yet, her records were now selling well enough to justify recording more songs with her. But Ken Nelson had a specific condition for any future recordings -- he pointed out that while she'd been recording both rock and roll and country music in her previous sessions, she had only ever charted in the US as a country artist, and she'd been signed as a country artist to Capitol. All her future sessions were going to be purely country, to avoid diluting her brand. Jackson agreed, and so she went into the studio and recorded a country shuffle, "Please Call Today": [Excerpt: Wanda Jackson, "Please Call Today"] But a few weeks later she got a call from Ken Nelson, telling her that she was in the charts -- not with "Please Call Today", but with "Party", the album track she'd recorded three years earlier. She was obviously confused by this, but Nelson explained that a DJ in Iowa had taken up the song and used it as the theme song for his radio show. So many people had called the DJ asking about it that he in turn had called Ken Nelson at Capitol and convinced him to put the track out as a single, and it had made the pop top forty. As a result, Capitol rushed out an album of her previous rockabilly singles, and then got her back into the studio, with her touring band, to record her first proper rock and roll album -- as opposed to her first album, which was a mixture of country and rock, and her second, which was a compilation of previously-released singles. This album was full of cover versions of rock and roll hits from the previous few years, like Elvis' "Hard-Headed Woman", LaVern Baker's "Tweedle Dee", and Buddy Holly's "It Doesn't Matter Any More". And she also recorded a few rock and roll singles, like a cover version of the Robins' "Riot in Cell Block #9". Those sessions also produced what became Jackson's biggest hit single to that point. At the time, Brenda Lee was a big star, and a friend of Jackson. The two had had parallel careers, and Lee was someone else who straddled the boundaries between rockabilly and country, but at the time she had just had a big hit with "I'm Sorry": [Excerpt: Brenda Lee, "I'm Sorry"] That was one of the first recordings in what would become known as "the Nashville Sound", a style of music that was somewhere between country music and middle-of-the-road pop. Wanda had written a song in that style, and since she was now once again being pushed in a rock and roll direction, she thought she would give it to Lee to record. However, she mentioned the song to Ken Nelson when she was in the studio, and he insisted that she let him hear it -- and once he heard it, he insisted on recording it with her, saying that Brenda Lee had enough hits of her own, and she didn't need Wanda Jackson giving her hers. The result was "Right or Wrong", which became her first solo country top ten hit, and all of a sudden she had once again switched styles -- she was now no longer Wanda Jackson the rock and roller, but she was Wanda Jackson the Nashville Sound pop-country singer: [Excerpt: Wanda Jackson, "Right or Wrong"] Unfortunately, Jackson ended up having to give up the songwriting royalties on that record, as she was sued by the company that owned "Wake the Town and Tell the People", which had been a hit in 1955 and had an undeniably similar melody: [Excerpt: Mindy Carson, "Wake the Town and Tell the People"] Even so, her switch to pure country music ended up being good for Jackson. While she would have peaks and troughs in her career, she managed to score another fifteen country top forty hits over the next decade -- although her biggest hit was as a writer rather than a performer, when she wrote "Kickin' Our Hearts Around" for Buck Owens, who had played on many of her sessions early in his career before he went on to become the biggest star in country music: [Excerpt: Buck Owens, "Kickin' Our Hearts Around"] Like almost everything Owens released in the sixties, that went top ten on the country charts. Jackson was a fairly major star in the country field through the sixties, even having her own TV show, but she was becoming increasingly unhappy, and suffering from alcoholism. In the early seventies she and her husband had a religious awakening, and became born-again Christians, and she once again switched her musical style, this time from country music to gospel -- though she would still sing her old secular hits along with the gospel songs on stage. Unfortunately, Capitol weren't interested in putting out gospel material by her, and she ended up moving to smaller and smaller labels, and by the end of the seventies she was reduced to rerecording her old hits for mail-order compilations put out by K-Tel records. But then her career got a second wind. In Europe in the early 1980s there was something of a rockabilly revival, and a Swedish label, Tab Records, got in touch with Jackson and asked her to record a new album of rockabilly music, which led to her touring all over Europe playing to crowds of rockabilly fans. By the nineties, American rockabilly revivalists were taking notice of her as well, and Rosie Flores, a rockabilly artist who would later produce Janis Martin's last sessions, invited Jackson to duet with her on a few songs and tour North America with her: [Excerpt: Wanda Jackson and Rosie Flores, "His Rockin' Little Angel"] In 2003, she recorded her first new album of secular music for the American market for several decades, featuring several of her younger admirers, like the Cramps and Lee Rocker of the Stray Cats. But the most prominent guest star was Elvis Costello, who duetted with her on a song by her old friend Buck Owens: [Excerpt: Elvis Costello and Wanda Jackson, "Crying Time"] After duetting with her, Costello discovered that she wasn't yet in the rock and roll hall of fame, and started lobbying for her inclusion, writing an open letter that says in part: "For heaven's sake, the whole thing risks ridicule and having the appearance of being a little boy's club unless it acknowledges the contribution of one of the first women of rock and roll. “It might be hard to admit, but the musical influence of several male pioneers is somewhat obscure today. Even though their records will always be thrilling, their sound is not really heard in echo. Look around today and you can hear lots of rocking girl singers who owe an unconscious debt to the mere idea of a girl like Wanda. She was standing up on stage with a guitar in her hands and making a sound that was as wild as any rocker, man or woman, while other gals were still asking 'How much is that doggy in the window'" Thanks in large part to Costello's advocacy, Jackson finally made it into the hall of fame in 2009, and that seems to have spurred another minor boost to her career, as she released two albums in the early part of last decade, produced by young admirers -- one produced by Justin Townes Earle, and the other by Jack White. Jackson has been having some health problems recently, and her husband and manager of fifty-six years died in 2017, so she finally retired from live performance in March last year, but she's apparently still working on a new album, produced by Joan Jett, which should be out soon. With luck, she will have a long and happy retirement.  

Episode sixty-nine of A History of Rock Music in Five Hundred Songs looks at “Fujiyama Mama” by Wanda Jackson, and the first rock and roller to become “big in Japan” 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 “Purple People Eater” by Sheb Wooley.  —-more—- Resources As always, I’ve created a Mixcloud streaming playlist with full versions of all the songs in the episode.   I have two main sources for this eposode. One is Wanda Jackson’s autobiography, Every Night is Saturday Night. The other is this article on “Fujiyama Mama”, which I urge everyone to read, as it goes into far more detail about the reasons why the song had the reception it did in Japan.   And this compilation collects most of Jackson’s important early work.   Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript Before we begin this episode, a minor content note. I am going to be looking at a song that is, unfortunately, unthinkingly offensive towards Japanese people and culture. If that – or flippant lyrics about the bombings of Hiroshima or Nagasaki – are likely to upset you, be warned. When we left Wanda Jackson six months ago, it looked very much like she might end up being a one-hit wonder. “I Gotta Know” had been a hit, but there hadn’t been a successful follow-up. In part this was because she was straddling two different genres — she was trying to find a way to be successful in both the rock and roll and country markets, and neither was taking to her especially well. In later years, it would be recognised that the music she was making combined some of the best of both worlds — she was working with a lot of the musicians on the West Coast who would later go on to become famous for creating the Bakersfield Sound, and changing the whole face of country music, and her records have a lot of that sound about them. And at the same time she was also making some extremely hot rockabilly music, but she was just a little bit too country for the rock market, and a little bit too rock for the country market. Possibly the place where she fit in best was among the Sun records acts, and so it’s not surprising that she ended up towards the bottom of the bill on the long tour that Jerry Lee Lewis, Carl Perkins and Johnny Cash did over much of North America in early 1957 — the tour on which Jerry Lee Lewis moved from third billed to top of the bill by sheer force of personality. But it says quite a bit about Jackson that while everyone else talking about that tour discusses the way that some of the men did things like throwing cherry bombs at each other’s cars, and living off nothing but whisky, Wanda’s principal recollection of the tour in her autobiography is of going to church and inviting all the men along, but Jerry Lee being the only one who would come with her. To a great extent she was shielded from the worst aspects of the men’s behaviour by her father, who was still looking after her on the road, and acted as a buffer between her and the worst excesses of her tourmates, but she seems to have been happy with that situation — she didn’t seem to have much desire to become one of the boys, the way many other female rock and roll stars have. She enjoyed making wild-sounding music, but she saw that mostly as a kind of acting — she didn’t think that her onstage persona had to match her offstage behaviour at all. And one of the wildest records she made was “Fujiyama Mama”: [Excerpt: Wanda Jackson, “Fujiyama Mama”] “Fujiyama Mama” was written by the rockabilly and R&B songwriter Jack Hammer (whose birth name was the more prosaic Earl Burroughs), who is best known as having been the credited co-writer of “Great Balls of Fire”. We didn’t talk about him in the episode on that song, because apparently Hammer’s only contribution to the song was the title — he wrote a totally different song with the same title, which Paul Case, who was the music consultant on the film “Jamboree”, liked enough to commission Otis Blackwell to write another song of the same name, giving Hammer half the credit. But Hammer did write some songs on his own that became at least moderate successes. For example, he wrote “Rock and Roll Call”, which was recorded by Louis Jordan: [Excerpt: Louis Jordan, “Rock and Roll Call”] And “Milkshake Mademoiselle” for Jerry Lee Lewis: [Excerpt, Jerry Lee Lewis, “Milkshake Mademoiselle”] And in 1954, when Hammer was only fourteen, he wrote “Fujiyama Mama”, which was originally recorded by Annisteen Allen: [Excerpt: Annisteen Allen, “Fujiyama Mama”] This was a song in a long line of songs about black women’s sexuality which lie at the base of rock and roll, though of course, as with several of those songs, it’s written by a man, and it’s mostly the woman boasting about how much pleasure she’s going to give the man — while it’s a sexually aggressive record, this is very much a male fantasy as performed by a woman. Allen was yet another singer in the early days of R&B and rock and roll to have come out of Lucky Millinder’s orchestra — she had been his female singer in the late forties, just after Rosetta Tharpe had left the group, and while Wynonie Harris was their male singer. She’d sung lead on what turned out to be Millinder’s last big hit, “I’m Waiting Just For You”: [Excerpt: Lucky Millinder and his orchestra, “I’m Waiting Just For You”] After she left Millinder’s band, Allen recorded for a variety of labels, with little success, and when she recorded “Fujiyama Mama” in 1954 she was on Capitol — this was almost unique at the time, as her kind of R&B would normally have come out on King or Apollo or Savoy or a similar small label. In its original version, “Fujiyama Mama” wasn’t a particularly successful record, but Wanda Jackson heard it on a jukebox and fell in love with the record. She quickly learned the song and added it to her own act. In 1957, Jackson was in the studio recording a country song called “No Wedding Bells for Joe”, written by a friend of hers called Marijohn Wilkin, who would later go on to write country classics like “Long Black Veil”: [Excerpt: Wanda Jackson, “No Wedding Bells For Joe”] For the B-side, Jackson wanted to record “Fujiyama Mama”, but Ken Nelson was very concerned — the lyrics about drinking, smoking, and shooting were bad enough for a girl who was not yet quite twenty, the blatant female sexuality was not something that would go down well at all in the country market, and lyrics like “I’ve been to Nagasaki, Hiroshima too/The things I did to them I can do to you” were horribly tasteless — and remember, this was little more than a decade after the bombs were dropped on those cities. Nelson really, really, disliked the song, and didn’t want Jackson to record it, and while I’ve been critical of Nelson for making poor repertoire choices for his artists — Nelson was someone with a great instinct for performers, but a terrible instinct for material — I can’t say I entirely blame him in this instance. But Wanda overruled him — and then, when he tried to tone down her performance in the studio, she rebelled against that, with the encouragement of her father, who told her “You’re the one who wanted to do it, so you need to do it your way”. In the last episode about Jackson, we talked about how she’d tried to do her normal growling roar on “Hot Dog! That Made Him Mad!” but was let down by having drunk milk before recording the song. This time, she had no problem, and for the first time in the studio she sang in the voice that she used for her rock and roll songs on stage: [Excerpt: Wanda Jackson, “Fujiyama Mama”] To my ears, Jackson’s version of the song is still notably inferior to Allen’s version, but it’s important to note that this isn’t a Georgia Gibbs style white person covering a black artist for commercial success at the instigation of her producer, and copying the arrangement precisely, this is a young woman covering a record she loved, and doing it as a B-side. There’s still the racial dynamic at play there, but this is closer to Elvis doing “That’s All Right” than to Georgia Gibbs ripping off LaVern Baker or Etta James. It’s also closer to Elvis than it is to Eileen Barton, who was the second person to have recorded the song. Barton was a novelty singer, whose biggest hit was “If I Knew You Were Coming I’d Have Baked a Cake” from 1950: [Excerpt: Eileen Barton, “If I Knew You Were Coming I’d Have Baked a Cake”] Barton’s version of “Fujiyama Mama” was the B-side to a 1955 remake of “If I Knew You Were Coming I’d Have Baked a Cake”, redone as a blues. I’ve not actually been able to track down a copy of that remake, so I can’t play an excerpt — I’m sure you’re all devastated by that. Barton’s version, far more than Jackson’s, was a straight copy of the original, though the arranger on her version gets rid of most of the Orientalisms in Allen’s original recording: [Excerpt: Eileen Barton, “Fujiyama Mama”] I think the difference between Barton’s and Jackson’s versions simply comes down to their sincerity. Barton hated the song, and thought of it as a terrible novelty tune she was being forced to sing. She did a competent professional job, because she was a professional vocalist, but she would talk later in interviews about how much she disliked the record. Jackson, on the other hand, pushed to do the song because she loved it so much, and she performed the song as she wanted it to be done, and against the wishes of her producer. For all the many, many problematic aspects of the song, which I won’t defend at all, that passion does show through in Jackson’s performance of it. Jackson’s single was released, and did absolutely nothing sales-wise, as was normal for her records at this point. Around this time, she also cut her first album, and included on it a cover version of a song Elvis had recently recorded, “Party”, which in her version was retitled “Let’s Have a Party”: [Excerpt: Wanda Jackson, “Let’s Have a Party”] That album also did essentially nothing, and while Jackson continued releasing singles throughout 1958, none of them charted. Ken Nelson didn’t even book her in for a single recording session in 1959 — by that point they’d got enough stuff already recorded that they could keep releasing records by her until her contract ran out, and they didn’t need to throw good money after bad by paying for more studio sessions to make records that nobody was going to buy. And then something really strange happened. “Fujiyama Mama” became hugely successful in Japan. Now, nobody seems to have adequately explained quite how this happened. After all, this record was… not exactly flattering about Japanese people, and its first couple of lines seem to celebrate the bombings of Hiroshima and Nagasaki. And it’s not as if they didn’t know what was being sung. While obviously Jackson was singing in English and most listeners in Japan couldn’t speak English, there was a Japanese translation of the lyrics printed on the back sleeve of the single, so most people would at least have had some idea what she was singing about. Yet somehow, the record made number one in Japan. In part, this may just have been simply because any recognition of Japanese culture from an American artist at all might have been seen as a novelty. But also, while in the USA pretty much all the rock and roll hits were sung by men, Japan was developing its own rock and roll culture, and in Japan, most of the big rock and roll stars were teenage girls, of around the same age as Wanda Jackson. Now, I am very far from being an expert on post-war Japanese culture, so please don’t take anything I say on the subject as being any kind of definitive statement, but from the stuff I’ve read (and in particular from a very good, long, article on this particular song that I’m going to link in the liner notes and which I urge you all to read, which goes into the cultural background a lot more than I can here) it seems as if these girls were, for the most part, groomed as manufactured pop stars, and that many of them were recording cover versions of songs in English, which they learned phonetically from the American recordings. For example, here’s Izumi Yukimura’s version of “Ko Ko Mo”: [Excerpt: Izumi Yukimura, “Ko Ko Mo”] In many of these versions, they would sing a verse in the original English, and then a verse in Japanese translation, as you can again hear in that recording: [Excerpt: Izumi Yukimura, “Ko Ko Mo”] Izumi Yuklmura also recorded a version of “Fujiyama Mama”, patterned after Jackson’s: [Excerpt: Izumi Yukimura, “Fujiyama Mama”] There are many, many things that can be said about these recordings, but the thing that strikes me about them, just as a music listener, and separate from everything else, is how comparatively convincing a rock and roll recording that version of “Fujiyama Mama” actually is. When you compare it to the music that was coming out of places like the UK or Australia or France, it’s far more energetic, and shows a far better understanding of the idiom. It’s important to note though that part of the reason for this is the peculiar circumstances in Japan at the time. Much of the Japanese entertainment industry in the late forties and fifties had grown up around the US occupying troops who were stationed there after the end of World War II, and those servicemen were more interested in seeing pretty young girls than in seeing male performers. But this meant two things — it firstly meant that young women were far more likely to be musical performers in Japan than in the US, and it also meant that the Japanese music industry was geared to performers who were performing in American styles — and so Japanese listeners were accustomed to hearing things like this: [Excerpt: Chiemi Eri, “Rock Around the Clock”] So when a recording by a young woman singing about Japan, however offensively, in a rock and roll style, was released in Japan, the market was ready for it. While in America rock and roll was largely viewed as a male music, in Japan, they were ready for Wanda Jackson. And Jackson, in turn, was ready for Japan. In her autobiography she makes clear that she was the kind of person who would nowadays be called a weeb — having a fascination with Japanese culture, albeit the stereotyped version she had learned from pop culture. She had always wanted to visit Japan growing up, and when she got there she was amazed to find that they were organising a press conference for her, and that wherever she went there were fans wanting her autograph. Jackson, of course, had no idea about the complex relationship that Japan was having at the time with American culture — though in her autobiography she talks about visiting a bar over there where Japanese singers were performing country songs — she just knew that they had latched on, for whatever reason, to an obscure B-side and given her a second chance at success. When Jackson got back from Japan, she put together her own band for the first time — and unusually for country music at the time, it was an integrated band, with a black pianist. She had to deal with some resistance from her mother, who was an older Southern white woman, but eventually managed to win her round. That pianist, Big Al Downing, later went on to have his own successful career, including a hit single duetting with Esther Phillips: [Excerpt Big Al Downing and Little Esther Phillips, “You’ll Never Miss Your Water Until The Well Runs Dry”] Downing also had disco hits in the early seventies, and later had a run of hits on the country charts. Jackson also took on a young guitarist named Roy Clark, who would go on to have a great deal of success himself, as one of the most important instrumentalists in country music, and Clark would later co-star in the hit TV show Hee-Haw, with Buck Owens (who had played on many of Jackson’s earlier records). In 1960, Jackson returned to the studio. While she’d not had much commercial success in the US yet, her records were now selling well enough to justify recording more songs with her. But Ken Nelson had a specific condition for any future recordings — he pointed out that while she’d been recording both rock and roll and country music in her previous sessions, she had only ever charted in the US as a country artist, and she’d been signed as a country artist to Capitol. All her future sessions were going to be purely country, to avoid diluting her brand. Jackson agreed, and so she went into the studio and recorded a country shuffle, “Please Call Today”: [Excerpt: Wanda Jackson, “Please Call Today”] But a few weeks later she got a call from Ken Nelson, telling her that she was in the charts — not with “Please Call Today”, but with “Party”, the album track she’d recorded three years earlier. She was obviously confused by this, but Nelson explained that a DJ in Iowa had taken up the song and used it as the theme song for his radio show. So many people had called the DJ asking about it that he in turn had called Ken Nelson at Capitol and convinced him to put the track out as a single, and it had made the pop top forty. As a result, Capitol rushed out an album of her previous rockabilly singles, and then got her back into the studio, with her touring band, to record her first proper rock and roll album — as opposed to her first album, which was a mixture of country and rock, and her second, which was a compilation of previously-released singles. This album was full of cover versions of rock and roll hits from the previous few years, like Elvis’ “Hard-Headed Woman”, LaVern Baker’s “Tweedle Dee”, and Buddy Holly’s “It Doesn’t Matter Any More”. And she also recorded a few rock and roll singles, like a cover version of the Robins’ “Riot in Cell Block #9”. Those sessions also produced what became Jackson’s biggest hit single to that point. At the time, Brenda Lee was a big star, and a friend of Jackson. The two had had parallel careers, and Lee was someone else who straddled the boundaries between rockabilly and country, but at the time she had just had a big hit with “I’m Sorry”: [Excerpt: Brenda Lee, “I’m Sorry”] That was one of the first recordings in what would become known as “the Nashville Sound”, a style of music that was somewhere between country music and middle-of-the-road pop. Wanda had written a song in that style, and since she was now once again being pushed in a rock and roll direction, she thought she would give it to Lee to record. However, she mentioned the song to Ken Nelson when she was in the studio, and he insisted that she let him hear it — and once he heard it, he insisted on recording it with her, saying that Brenda Lee had enough hits of her own, and she didn’t need Wanda Jackson giving her hers. The result was “Right or Wrong”, which became her first solo country top ten hit, and all of a sudden she had once again switched styles — she was now no longer Wanda Jackson the rock and roller, but she was Wanda Jackson the Nashville Sound pop-country singer: [Excerpt: Wanda Jackson, “Right or Wrong”] Unfortunately, Jackson ended up having to give up the songwriting royalties on that record, as she was sued by the company that owned “Wake the Town and Tell the People”, which had been a hit in 1955 and had an undeniably similar melody: [Excerpt: Mindy Carson, “Wake the Town and Tell the People”] Even so, her switch to pure country music ended up being good for Jackson. While she would have peaks and troughs in her career, she managed to score another fifteen country top forty hits over the next decade — although her biggest hit was as a writer rather than a performer, when she wrote “Kickin’ Our Hearts Around” for Buck Owens, who had played on many of her sessions early in his career before he went on to become the biggest star in country music: [Excerpt: Buck Owens, “Kickin’ Our Hearts Around”] Like almost everything Owens released in the sixties, that went top ten on the country charts. Jackson was a fairly major star in the country field through the sixties, even having her own TV show, but she was becoming increasingly unhappy, and suffering from alcoholism. In the early seventies she and her husband had a religious awakening, and became born-again Christians, and she once again switched her musical style, this time from country music to gospel — though she would still sing her old secular hits along with the gospel songs on stage. Unfortunately, Capitol weren’t interested in putting out gospel material by her, and she ended up moving to smaller and smaller labels, and by the end of the seventies she was reduced to rerecording her old hits for mail-order compilations put out by K-Tel records. But then her career got a second wind. In Europe in the early 1980s there was something of a rockabilly revival, and a Swedish label, Tab Records, got in touch with Jackson and asked her to record a new album of rockabilly music, which led to her touring all over Europe playing to crowds of rockabilly fans. By the nineties, American rockabilly revivalists were taking notice of her as well, and Rosie Flores, a rockabilly artist who would later produce Janis Martin’s last sessions, invited Jackson to duet with her on a few songs and tour North America with her: [Excerpt: Wanda Jackson and Rosie Flores, “His Rockin’ Little Angel”] In 2003, she recorded her first new album of secular music for the American market for several decades, featuring several of her younger admirers, like the Cramps and Lee Rocker of the Stray Cats. But the most prominent guest star was Elvis Costello, who duetted with her on a song by her old friend Buck Owens: [Excerpt: Elvis Costello and Wanda Jackson, “Crying Time”] After duetting with her, Costello discovered that she wasn’t yet in the rock and roll hall of fame, and started lobbying for her inclusion, writing an open letter that says in part: “For heaven’s sake, the whole thing risks ridicule and having the appearance of being a little boy’s club unless it acknowledges the contribution of one of the first women of rock and roll. “It might be hard to admit, but the musical influence of several male pioneers is somewhat obscure today. Even though their records will always be thrilling, their sound is not really heard in echo. Look around today and you can hear lots of rocking girl singers who owe an unconscious debt to the mere idea of a girl like Wanda. She was standing up on stage with a guitar in her hands and making a sound that was as wild as any rocker, man or woman, while other gals were still asking ‘How much is that doggy in the window'” Thanks in large part to Costello’s advocacy, Jackson finally made it into the hall of fame in 2009, and that seems to have spurred another minor boost to her career, as she released two albums in the early part of last decade, produced by young admirers — one produced by Justin Townes Earle, and the other by Jack White. Jackson has been having some health problems recently, and her husband and manager of fifty-six years died in 2017, so she finally retired from live performance in March last year, but she’s apparently still working on a new album, produced by Joan Jett, which should be out soon. With luck, she will have a long and happy retirement.  

Episode sixty-nine of A History of Rock Music in Five Hundred Songs looks at “Fujiyama Mama” by Wanda Jackson, and the first rock and roller to become “big in Japan” 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 “Purple People Eater” by Sheb Wooley.  —-more—- Resources As always, I’ve created a Mixcloud streaming playlist with full versions of all the songs in the episode.   I have two main sources for this eposode. One is Wanda Jackson’s autobiography, Every Night is Saturday Night. The other is this article on “Fujiyama Mama”, which I urge everyone to read, as it goes into far more detail about the reasons why the song had the reception it did in Japan.   And this compilation collects most of Jackson’s important early work.   Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript Before we begin this episode, a minor content note. I am going to be looking at a song that is, unfortunately, unthinkingly offensive towards Japanese people and culture. If that – or flippant lyrics about the bombings of Hiroshima or Nagasaki – are likely to upset you, be warned. When we left Wanda Jackson six months ago, it looked very much like she might end up being a one-hit wonder. “I Gotta Know” had been a hit, but there hadn’t been a successful follow-up. In part this was because she was straddling two different genres — she was trying to find a way to be successful in both the rock and roll and country markets, and neither was taking to her especially well. In later years, it would be recognised that the music she was making combined some of the best of both worlds — she was working with a lot of the musicians on the West Coast who would later go on to become famous for creating the Bakersfield Sound, and changing the whole face of country music, and her records have a lot of that sound about them. And at the same time she was also making some extremely hot rockabilly music, but she was just a little bit too country for the rock market, and a little bit too rock for the country market. Possibly the place where she fit in best was among the Sun records acts, and so it’s not surprising that she ended up towards the bottom of the bill on the long tour that Jerry Lee Lewis, Carl Perkins and Johnny Cash did over much of North America in early 1957 — the tour on which Jerry Lee Lewis moved from third billed to top of the bill by sheer force of personality. But it says quite a bit about Jackson that while everyone else talking about that tour discusses the way that some of the men did things like throwing cherry bombs at each other’s cars, and living off nothing but whisky, Wanda’s principal recollection of the tour in her autobiography is of going to church and inviting all the men along, but Jerry Lee being the only one who would come with her. To a great extent she was shielded from the worst aspects of the men’s behaviour by her father, who was still looking after her on the road, and acted as a buffer between her and the worst excesses of her tourmates, but she seems to have been happy with that situation — she didn’t seem to have much desire to become one of the boys, the way many other female rock and roll stars have. She enjoyed making wild-sounding music, but she saw that mostly as a kind of acting — she didn’t think that her onstage persona had to match her offstage behaviour at all. And one of the wildest records she made was “Fujiyama Mama”: [Excerpt: Wanda Jackson, “Fujiyama Mama”] “Fujiyama Mama” was written by the rockabilly and R&B songwriter Jack Hammer (whose birth name was the more prosaic Earl Burroughs), who is best known as having been the credited co-writer of “Great Balls of Fire”. We didn’t talk about him in the episode on that song, because apparently Hammer’s only contribution to the song was the title — he wrote a totally different song with the same title, which Paul Case, who was the music consultant on the film “Jamboree”, liked enough to commission Otis Blackwell to write another song of the same name, giving Hammer half the credit. But Hammer did write some songs on his own that became at least moderate successes. For example, he wrote “Rock and Roll Call”, which was recorded by Louis Jordan: [Excerpt: Louis Jordan, “Rock and Roll Call”] And “Milkshake Mademoiselle” for Jerry Lee Lewis: [Excerpt, Jerry Lee Lewis, “Milkshake Mademoiselle”] And in 1954, when Hammer was only fourteen, he wrote “Fujiyama Mama”, which was originally recorded by Annisteen Allen: [Excerpt: Annisteen Allen, “Fujiyama Mama”] This was a song in a long line of songs about black women’s sexuality which lie at the base of rock and roll, though of course, as with several of those songs, it’s written by a man, and it’s mostly the woman boasting about how much pleasure she’s going to give the man — while it’s a sexually aggressive record, this is very much a male fantasy as performed by a woman. Allen was yet another singer in the early days of R&B and rock and roll to have come out of Lucky Millinder’s orchestra — she had been his female singer in the late forties, just after Rosetta Tharpe had left the group, and while Wynonie Harris was their male singer. She’d sung lead on what turned out to be Millinder’s last big hit, “I’m Waiting Just For You”: [Excerpt: Lucky Millinder and his orchestra, “I’m Waiting Just For You”] After she left Millinder’s band, Allen recorded for a variety of labels, with little success, and when she recorded “Fujiyama Mama” in 1954 she was on Capitol — this was almost unique at the time, as her kind of R&B would normally have come out on King or Apollo or Savoy or a similar small label. In its original version, “Fujiyama Mama” wasn’t a particularly successful record, but Wanda Jackson heard it on a jukebox and fell in love with the record. She quickly learned the song and added it to her own act. In 1957, Jackson was in the studio recording a country song called “No Wedding Bells for Joe”, written by a friend of hers called Marijohn Wilkin, who would later go on to write country classics like “Long Black Veil”: [Excerpt: Wanda Jackson, “No Wedding Bells For Joe”] For the B-side, Jackson wanted to record “Fujiyama Mama”, but Ken Nelson was very concerned — the lyrics about drinking, smoking, and shooting were bad enough for a girl who was not yet quite twenty, the blatant female sexuality was not something that would go down well at all in the country market, and lyrics like “I’ve been to Nagasaki, Hiroshima too/The things I did to them I can do to you” were horribly tasteless — and remember, this was little more than a decade after the bombs were dropped on those cities. Nelson really, really, disliked the song, and didn’t want Jackson to record it, and while I’ve been critical of Nelson for making poor repertoire choices for his artists — Nelson was someone with a great instinct for performers, but a terrible instinct for material — I can’t say I entirely blame him in this instance. But Wanda overruled him — and then, when he tried to tone down her performance in the studio, she rebelled against that, with the encouragement of her father, who told her “You’re the one who wanted to do it, so you need to do it your way”. In the last episode about Jackson, we talked about how she’d tried to do her normal growling roar on “Hot Dog! That Made Him Mad!” but was let down by having drunk milk before recording the song. This time, she had no problem, and for the first time in the studio she sang in the voice that she used for her rock and roll songs on stage: [Excerpt: Wanda Jackson, “Fujiyama Mama”] To my ears, Jackson’s version of the song is still notably inferior to Allen’s version, but it’s important to note that this isn’t a Georgia Gibbs style white person covering a black artist for commercial success at the instigation of her producer, and copying the arrangement precisely, this is a young woman covering a record she loved, and doing it as a B-side. There’s still the racial dynamic at play there, but this is closer to Elvis doing “That’s All Right” than to Georgia Gibbs ripping off LaVern Baker or Etta James. It’s also closer to Elvis than it is to Eileen Barton, who was the second person to have recorded the song. Barton was a novelty singer, whose biggest hit was “If I Knew You Were Coming I’d Have Baked a Cake” from 1950: [Excerpt: Eileen Barton, “If I Knew You Were Coming I’d Have Baked a Cake”] Barton’s version of “Fujiyama Mama” was the B-side to a 1955 remake of “If I Knew You Were Coming I’d Have Baked a Cake”, redone as a blues. I’ve not actually been able to track down a copy of that remake, so I can’t play an excerpt — I’m sure you’re all devastated by that. Barton’s version, far more than Jackson’s, was a straight copy of the original, though the arranger on her version gets rid of most of the Orientalisms in Allen’s original recording: [Excerpt: Eileen Barton, “Fujiyama Mama”] I think the difference between Barton’s and Jackson’s versions simply comes down to their sincerity. Barton hated the song, and thought of it as a terrible novelty tune she was being forced to sing. She did a competent professional job, because she was a professional vocalist, but she would talk later in interviews about how much she disliked the record. Jackson, on the other hand, pushed to do the song because she loved it so much, and she performed the song as she wanted it to be done, and against the wishes of her producer. For all the many, many problematic aspects of the song, which I won’t defend at all, that passion does show through in Jackson’s performance of it. Jackson’s single was released, and did absolutely nothing sales-wise, as was normal for her records at this point. Around this time, she also cut her first album, and included on it a cover version of a song Elvis had recently recorded, “Party”, which in her version was retitled “Let’s Have a Party”: [Excerpt: Wanda Jackson, “Let’s Have a Party”] That album also did essentially nothing, and while Jackson continued releasing singles throughout 1958, none of them charted. Ken Nelson didn’t even book her in for a single recording session in 1959 — by that point they’d got enough stuff already recorded that they could keep releasing records by her until her contract ran out, and they didn’t need to throw good money after bad by paying for more studio sessions to make records that nobody was going to buy. And then something really strange happened. “Fujiyama Mama” became hugely successful in Japan. Now, nobody seems to have adequately explained quite how this happened. After all, this record was… not exactly flattering about Japanese people, and its first couple of lines seem to celebrate the bombings of Hiroshima and Nagasaki. And it’s not as if they didn’t know what was being sung. While obviously Jackson was singing in English and most listeners in Japan couldn’t speak English, there was a Japanese translation of the lyrics printed on the back sleeve of the single, so most people would at least have had some idea what she was singing about. Yet somehow, the record made number one in Japan. In part, this may just have been simply because any recognition of Japanese culture from an American artist at all might have been seen as a novelty. But also, while in the USA pretty much all the rock and roll hits were sung by men, Japan was developing its own rock and roll culture, and in Japan, most of the big rock and roll stars were teenage girls, of around the same age as Wanda Jackson. Now, I am very far from being an expert on post-war Japanese culture, so please don’t take anything I say on the subject as being any kind of definitive statement, but from the stuff I’ve read (and in particular from a very good, long, article on this particular song that I’m going to link in the liner notes and which I urge you all to read, which goes into the cultural background a lot more than I can here) it seems as if these girls were, for the most part, groomed as manufactured pop stars, and that many of them were recording cover versions of songs in English, which they learned phonetically from the American recordings. For example, here’s Izumi Yukimura’s version of “Ko Ko Mo”: [Excerpt: Izumi Yukimura, “Ko Ko Mo”] In many of these versions, they would sing a verse in the original English, and then a verse in Japanese translation, as you can again hear in that recording: [Excerpt: Izumi Yukimura, “Ko Ko Mo”] Izumi Yuklmura also recorded a version of “Fujiyama Mama”, patterned after Jackson’s: [Excerpt: Izumi Yukimura, “Fujiyama Mama”] There are many, many things that can be said about these recordings, but the thing that strikes me about them, just as a music listener, and separate from everything else, is how comparatively convincing a rock and roll recording that version of “Fujiyama Mama” actually is. When you compare it to the music that was coming out of places like the UK or Australia or France, it’s far more energetic, and shows a far better understanding of the idiom. It’s important to note though that part of the reason for this is the peculiar circumstances in Japan at the time. Much of the Japanese entertainment industry in the late forties and fifties had grown up around the US occupying troops who were stationed there after the end of World War II, and those servicemen were more interested in seeing pretty young girls than in seeing male performers. But this meant two things — it firstly meant that young women were far more likely to be musical performers in Japan than in the US, and it also meant that the Japanese music industry was geared to performers who were performing in American styles — and so Japanese listeners were accustomed to hearing things like this: [Excerpt: Chiemi Eri, “Rock Around the Clock”] So when a recording by a young woman singing about Japan, however offensively, in a rock and roll style, was released in Japan, the market was ready for it. While in America rock and roll was largely viewed as a male music, in Japan, they were ready for Wanda Jackson. And Jackson, in turn, was ready for Japan. In her autobiography she makes clear that she was the kind of person who would nowadays be called a weeb — having a fascination with Japanese culture, albeit the stereotyped version she had learned from pop culture. She had always wanted to visit Japan growing up, and when she got there she was amazed to find that they were organising a press conference for her, and that wherever she went there were fans wanting her autograph. Jackson, of course, had no idea about the complex relationship that Japan was having at the time with American culture — though in her autobiography she talks about visiting a bar over there where Japanese singers were performing country songs — she just knew that they had latched on, for whatever reason, to an obscure B-side and given her a second chance at success. When Jackson got back from Japan, she put together her own band for the first time — and unusually for country music at the time, it was an integrated band, with a black pianist. She had to deal with some resistance from her mother, who was an older Southern white woman, but eventually managed to win her round. That pianist, Big Al Downing, later went on to have his own successful career, including a hit single duetting with Esther Phillips: [Excerpt Big Al Downing and Little Esther Phillips, “You’ll Never Miss Your Water Until The Well Runs Dry”] Downing also had disco hits in the early seventies, and later had a run of hits on the country charts. Jackson also took on a young guitarist named Roy Clark, who would go on to have a great deal of success himself, as one of the most important instrumentalists in country music, and Clark would later co-star in the hit TV show Hee-Haw, with Buck Owens (who had played on many of Jackson’s earlier records). In 1960, Jackson returned to the studio. While she’d not had much commercial success in the US yet, her records were now selling well enough to justify recording more songs with her. But Ken Nelson had a specific condition for any future recordings — he pointed out that while she’d been recording both rock and roll and country music in her previous sessions, she had only ever charted in the US as a country artist, and she’d been signed as a country artist to Capitol. All her future sessions were going to be purely country, to avoid diluting her brand. Jackson agreed, and so she went into the studio and recorded a country shuffle, “Please Call Today”: [Excerpt: Wanda Jackson, “Please Call Today”] But a few weeks later she got a call from Ken Nelson, telling her that she was in the charts — not with “Please Call Today”, but with “Party”, the album track she’d recorded three years earlier. She was obviously confused by this, but Nelson explained that a DJ in Iowa had taken up the song and used it as the theme song for his radio show. So many people had called the DJ asking about it that he in turn had called Ken Nelson at Capitol and convinced him to put the track out as a single, and it had made the pop top forty. As a result, Capitol rushed out an album of her previous rockabilly singles, and then got her back into the studio, with her touring band, to record her first proper rock and roll album — as opposed to her first album, which was a mixture of country and rock, and her second, which was a compilation of previously-released singles. This album was full of cover versions of rock and roll hits from the previous few years, like Elvis’ “Hard-Headed Woman”, LaVern Baker’s “Tweedle Dee”, and Buddy Holly’s “It Doesn’t Matter Any More”. And she also recorded a few rock and roll singles, like a cover version of the Robins’ “Riot in Cell Block #9”. Those sessions also produced what became Jackson’s biggest hit single to that point. At the time, Brenda Lee was a big star, and a friend of Jackson. The two had had parallel careers, and Lee was someone else who straddled the boundaries between rockabilly and country, but at the time she had just had a big hit with “I’m Sorry”: [Excerpt: Brenda Lee, “I’m Sorry”] That was one of the first recordings in what would become known as “the Nashville Sound”, a style of music that was somewhere between country music and middle-of-the-road pop. Wanda had written a song in that style, and since she was now once again being pushed in a rock and roll direction, she thought she would give it to Lee to record. However, she mentioned the song to Ken Nelson when she was in the studio, and he insisted that she let him hear it — and once he heard it, he insisted on recording it with her, saying that Brenda Lee had enough hits of her own, and she didn’t need Wanda Jackson giving her hers. The result was “Right or Wrong”, which became her first solo country top ten hit, and all of a sudden she had once again switched styles — she was now no longer Wanda Jackson the rock and roller, but she was Wanda Jackson the Nashville Sound pop-country singer: [Excerpt: Wanda Jackson, “Right or Wrong”] Unfortunately, Jackson ended up having to give up the songwriting royalties on that record, as she was sued by the company that owned “Wake the Town and Tell the People”, which had been a hit in 1955 and had an undeniably similar melody: [Excerpt: Mindy Carson, “Wake the Town and Tell the People”] Even so, her switch to pure country music ended up being good for Jackson. While she would have peaks and troughs in her career, she managed to score another fifteen country top forty hits over the next decade — although her biggest hit was as a writer rather than a performer, when she wrote “Kickin’ Our Hearts Around” for Buck Owens, who had played on many of her sessions early in his career before he went on to become the biggest star in country music: [Excerpt: Buck Owens, “Kickin’ Our Hearts Around”] Like almost everything Owens released in the sixties, that went top ten on the country charts. Jackson was a fairly major star in the country field through the sixties, even having her own TV show, but she was becoming increasingly unhappy, and suffering from alcoholism. In the early seventies she and her husband had a religious awakening, and became born-again Christians, and she once again switched her musical style, this time from country music to gospel — though she would still sing her old secular hits along with the gospel songs on stage. Unfortunately, Capitol weren’t interested in putting out gospel material by her, and she ended up moving to smaller and smaller labels, and by the end of the seventies she was reduced to rerecording her old hits for mail-order compilations put out by K-Tel records. But then her career got a second wind. In Europe in the early 1980s there was something of a rockabilly revival, and a Swedish label, Tab Records, got in touch with Jackson and asked her to record a new album of rockabilly music, which led to her touring all over Europe playing to crowds of rockabilly fans. By the nineties, American rockabilly revivalists were taking notice of her as well, and Rosie Flores, a rockabilly artist who would later produce Janis Martin’s last sessions, invited Jackson to duet with her on a few songs and tour North America with her: [Excerpt: Wanda Jackson and Rosie Flores, “His Rockin’ Little Angel”] In 2003, she recorded her first new album of secular music for the American market for several decades, featuring several of her younger admirers, like the Cramps and Lee Rocker of the Stray Cats. But the most prominent guest star was Elvis Costello, who duetted with her on a song by her old friend Buck Owens: [Excerpt: Elvis Costello and Wanda Jackson, “Crying Time”] After duetting with her, Costello discovered that she wasn’t yet in the rock and roll hall of fame, and started lobbying for her inclusion, writing an open letter that says in part: “For heaven’s sake, the whole thing risks ridicule and having the appearance of being a little boy’s club unless it acknowledges the contribution of one of the first women of rock and roll. “It might be hard to admit, but the musical influence of several male pioneers is somewhat obscure today. Even though their records will always be thrilling, their sound is not really heard in echo. Look around today and you can hear lots of rocking girl singers who owe an unconscious debt to the mere idea of a girl like Wanda. She was standing up on stage with a guitar in her hands and making a sound that was as wild as any rocker, man or woman, while other gals were still asking ‘How much is that doggy in the window'” Thanks in large part to Costello’s advocacy, Jackson finally made it into the hall of fame in 2009, and that seems to have spurred another minor boost to her career, as she released two albums in the early part of last decade, produced by young admirers — one produced by Justin Townes Earle, and the other by Jack White. Jackson has been having some health problems recently, and her husband and manager of fifty-six years died in 2017, so she finally retired from live performance in March last year, but she’s apparently still working on a new album, produced by Joan Jett, which should be out soon. With luck, she will have a long and happy retirement.  

The Christmas party in the kitchen continues this week with great material by Lil' Ed, Little Richard, Koko Taylor, MO7S, Michael Burks, Samantha Fish, CJ Chenier & The Red Hot Louisiana Band, The Hot Club of Reading, Louis Prima Sr., Big Bad Voodoo Daddy, The Dukes of Dixieland, The Honey Drippers, Oscar McLollie, Sheb Wooley, Joe Bonamassa and Ruby Rivers.   Ho, ho, ho!  

This week’s ENW podcast reports on a short sound that last for only a few seconds, is know to millions of people around the world, yet is also almost universally overlooked. The Wilhelm Scream is the most used sound effect and can be found in hundreds of movies and TV series around the world. The scream was first recorded in October 1951 by a character actor and country singer called - Sheb Wooley. Why is it used so often? What famous movies have used it? ENGLISH NEWS WEEKLY will try and explain all. (PDF) Download MP3 Countdown to Our 1,000th Episode The English learning podcasts from Hiroshima University (English News Weekly and Hiroshima University's English Podcast) will soon reach the milestone 1,000th episode! For our 1,000th episode, we will present a special programme by Joe and Jaime.

This week’s ENW podcast reports on a short sound that last for only a few seconds, is know to millions of people around the world, yet is also almost universally overlooked. The Wilhelm Scream is the most used sound effect and can be found in hundreds of movies and TV series around the world. The scream was first recorded in October 1951 by a character actor and country singer called - Sheb Wooley. Why is it used so often? What famous movies have used it? ENGLISH NEWS WEEKLY will try and explain all. (PDF) Download MP3 Countdown to Our 1,000th Episode The English learning podcasts from Hiroshima University (English News Weekly and Hiroshima University's English Podcast) will soon reach the milestone 1,000th episode! For our 1,000th episode, we will present a special programme by Joe and Jaime.

CW: Rape, Child Abuse, Eating Disorders It’s Cannibal Week on Pod Sematary! Chris & Kelsey check out two films about familial cannibalism, including one from listener James! Thanks, James! The Classic Film: Title (Year) "A young boy living in 1950s suburbia suspects his parents are cannibalistic murderers" (IMDb.com). This quirky gem scared the bejeezus out of Kelsey when she was probably too young to be watching it. Will it live up to her childhood memory? The Modern Film: Title (Year) "An innocent teenager, studying to be a vet, develops a craving for human flesh" (IMDb.com). Raw got a lot of buzz a few years ago on the indie circuit, but is that praise unwarranted? Get more at podsematary.com! Ironically, there are no Afterthoughts this week, but be sure to follow us on Twitter at @PodSematary to get them live in the future! Audio Sources: "The 40-Year-Old Virgin" produced by Universal Pictures & Apatow Productions "Addicted to Love" written and performed by Robert Palmer "Bill & Ted's Excellent Adventure" produced by De Laurentiis Entertainment Group, et al. "Blood!" performed by Bobby Ramos (@DinoWinwood) "Flying Purple People Eater" written and performed by Sheb Wooley "Parents" produced by Great American Films Limited Partnership & Vestron Pictures "Pet Sematary" written by Dee Dee Ramone & Daniel Rey and performed by The Ramones "Raw" produced by Petit Film, Rouge International (co-production), Frakas Productions (co-production), Wild Bunch (in association with), Canal+ (participation), Ciné+ (participation), Centre National de la Cinématographie (CNC) (participation), Le Tax Shelter du Gouvernement Fédéral de Belgique (participation), Casa Kafka Pictures Movie Tax Shelter Empowered by Belfius (participation), La Wallonie (participation), Bruxelles Capitale (participation), Centre du Cinéma et de l'Audiovisuel de la Fédération Wallonie-Bruxelles (participation), Radio Télévision Belge Francophone (RTBF) (co-production), VOO (co-production), BE TV (co-production), Arte / Cofinova 12 (participation), Torino Film Lab (participation) (as Torinofilmlab), MEDIA Programme of the European Union (support), Angoa-Agicoa (support), Ciclic - Région Centre (developed with the support of), Ezekiel Film Production & Rouge International "Robot Chicken: Star Wars Episode II" produced by Stoopid Monkey, et al. "SLC Punk!" produced by Beyond Films, et al.

There's a lot of weird things going on this week, especially Emily subjecting Molly and Tess to a 3-hour weird film that was boo'd at Cannes. The Night Gang talk moon water, moon quakes, and get some very special Night Calls! NIGHT CALL BOOK CLUB BOOK ANNOUNCED! For the book and the episode, CHECK OUT THE NIGHT CALL PATREON (https://www.patreon.com/NightCall) ! Support the show for as little as $1 a month! Call in to Night Call at 240-46-NIGHT Articles and media mentioned this episode: Song, Sheb Wooley, "Flying Purple People Eater" (https://www.youtube.com/watch?v=X9H_cI_WCnE) Article, The Awl, "A Guide to the Spooky Scary Secret Monsters of Every State" (https://www.theawl.com/2012/10/a-guide-to-the-spooky-scary-secret-monsters-of-every-state/) Song, The Rolling Stones, "Jumpin' Jack Flash" (https://www.youtube.com/watch?v=hdlVfuaKwRI) Book, Cujo (https://www.indiebound.org/book/9781501143694) by Stephen King  Book Series, Dog Man (https://pilkey.com/series/dog-man) Podcast, Ologies (https://www.alieward.com/ologies) Photo, Ladybug Larvae (https://simple.wikipedia.org/wiki/Lady_beetle#/media/File:LadyBugBeetle2009.JPG) Article, LiveScience, "The Moon Is Shrinking and That's Causing Moonquakes" (https://www.livescience.com/65475-moon-shrinking-moonquakes.html) Website, Moon Water, Das Lebendige Wasser (https://st-leonhards-quellen.de/produkte/sonne-mond-licht/) Film, Under the Silver Lake (https://www.imdb.com/title/tt5691670/?ref_=nv_sr_1?ref_=nv_sr_1) Film, The Farewell (https://www.imdb.com/title/tt8637428/?ref_=nv_sr_1?ref_=nv_sr_1) Film, It Follows (https://www.imdb.com/title/tt3235888/?ref_=nv_sr_1?ref_=nv_sr_1) Reddit,  r/underthesilverlake (https://www.reddit.com/r/underthesilverlake/) TV Series, True Detective (https://www.imdb.com/title/tt2356777/?ref_=nv_sr_1?ref_=nv_sr_1) Film, The Amazing Spider-Man (https://www.imdb.com/title/tt0948470/?ref_=nv_sr_1?ref_=nv_sr_1) Film, The Social Network (https://www.imdb.com/title/tt1285016/?ref_=nv_sr_1?ref_=nv_sr_1) Film, National Treasure (https://www.imdb.com/title/tt0368891/?ref_=nv_sr_1?ref_=nv_sr_1) Website, Neural Network TalktoTransformer (https://talktotransformer.com/) TV Series, Clarissa Explains it All, "Poetic Justice" (https://www.imdb.com/title/tt0542226/) TV Series, Wishbone, "Cyranose" (https://www.imdb.com/title/tt1033443/) Twitter, @SeeJaneMarie (https://twitter.com/SeeJaneMarie/status/1130200805074587649) Article, The Cut, "Side Hustles and Ways to Make Money at Home" (https://www.thecut.com/2019/05/25-side-hustles-how-to-make-money-at-home.html) Podcast, The Dream (https://podcasts.apple.com/us/podcast/the-dream/id1435743296) Facebook Group, Sounds Like MLM but ok (https://www.facebook.com/SoundslikeMLMbutok/) [As of this posting, The Cut has removed both MLM and Hair selling  from the article, as well as changed the title from "25 Side Hustles" to "24 Side Hustles" to "Side Hustles."] "Night Call" by 4aStables (https://www.4astables.com/) . Sound effects by CuddleNucks (https://freesound.org/people/CuddleNucks/sounds/417134/) and scratchikken (https://freesound.org/people/scratchikken/sounds/115610/) . Music used is "Let that Sink In" by Lee Rosevere (https://leerosevere.bandcamp.com/) and "Cenderes" by Kai Engel (https://www.kai-engel.com/) . Additional sfx from freesound.org (https://freesound.org/) . Learn more about your ad-choices at https://news.iheart.com/podcast-advertisers

Ben and Trevor dive into the real story behind the Purple People Eater song by Sheb Wooley, as well as many other crazy game ideas, such as: the teenage genius who figured out cold fusion, Mother Nature's favorite forest, the tragic tale of a lifeguard and a trip to 1980's outer eastern suburbs of Melbourne.

The Kills [00:30] a side: "Pull a U" b side: "The Search for Cherry Red" Domino Records RUG165 2003 Nothing like a little stripped down rock and roll. Grace Jones [06:52] a side: "Pull Up to the Bumper" b side: "Breakdown" Island Records IS49697 1981 Funk yeah. Beep beep. Made it number 5 on the R&B charts, and number 2 on the Hot Dance charts. And of course, there's that killer b-side, for which Tom Petty provided a third verse especially for Grace. Sheb Wooley [14:24] a side: "The Purple People Eater" b side: "I Can't Believe You're Gone" MGM Records K12651 1958 So does it only eat purple people or is it purple and eats people? The answer is right in the lyrics: it eats purple people! Jody Miller [19:07] a side: "Queen of the House" b side: "The Greatest Actor" Capitol Records 5402 1965 Ayup, that's an answer song all right. Made it to number 12 on the Hot 100 and number 5 on the Country charts. Not only that, The Supremes even recorded a version of it. B.J. Thomas [25:01] a side: "Raindrops Keep Fallin' on My Head" b side: "Never Had It So Good" Scepter Records SCE-12265 1969 Heckuva Hal David/Burt Bacharach number, heckuva film. Number 1 on the charts of course. Blondie [30:55] a side: "Rapture" b side: "Walk Like Me" Chrysalis CHS 2485 1981 Sadly the b-side is rendered unplayable due to damage. The video features cameos by Fab Five Freddy, Lee Quinones and Jean-Michel Basquiat. Pavement [38:00] a side: "Rattled by the Rush" b side: "False Skorpion/Easily Fooled" Matador Records OLE-134-7 1995 Wowee. Zowee. The first single from Pavement's 1995 album Wowee Zowee. Definitely sounds like the boys are having some fun on the b-side. J.J. Barnes [47:27] a side: "Real Humdinger" b side: "I Ain't Gonna Do It" Ric-Tic Records RT-110 1966 Hot stuff, and a Northern Soul classic from this often overlooked Detroit singer/songwriter. Music behind the DJ: "Ski Chase" by John Barry.

We have gained so many new listeners we decided to do a short review of our first 30 Episodes.

Steaming along in their stolen train less than a mile from Tumbleweed City, Slocum and Charlie drink the last of the stolen virus. But sitting in the hot sun has caused a molecular change, and now all it does is turn them purple. Despite their change in complexion, the evil villains make a plan to jump off the train and into the masses of bustling shoppers to get lost in the crowd… featuring Sheb Wooley!

Oklahoman Sheb Wooley had 3 Distinctive Creative Careers. Country Singer, Songwriter, Television and Movie Actor. He also was the music inspiration for Roger Miller.

Lou and Chad continue their series on number ones by decade. This week it's the 50's. You know Johnny Ray and the 4 Lads, Elvis Presley and Sheb Wooley to name a few. We discuss what is good and what isn't so much in our opinion. Put on your boot cut jeans, a white T-Shirt and grab your Lucky Strikes and see if you are Musically Challenged.Couple ways to reach us if you so desire. First by email at musicchallengepodcast@gmail.com or on Facebook @poinetwork or @musicallychallengedpodcast Any way you want to do it, we look forward to hearing from you.

Sunday Morning Coming Down Podcast - May 29th, 2011 How-deeeeeeeee! This week I featured comedians/musicians of classic country, including the likes of Sheb Wooley, Lonzo and Oscar, Grandpa Jones, Minnie Pearl, Stringbean, and June Carter. … See more: Sunday Morning Coming Down Sunday Morning Coming Down Sunday Morning Coming Down

News, Crosstalk, a Gear Review, a Featured Performance and we tweak The Stupid Knob! News: Official Digidesign Support For 8-Core Mac Pro MusicRow Drum Queen School Of Audio (SAE) Engineering Ardour Open Source DAW de la Mancha Dynamite Cowbell Plugin FX Plugin Comparison Site #1 FX Plugin Comparison Site #2 Crosstalk: Les Paul Is 92! Stax Records Is 50! Send in your questions for Charles Dye! Send in your questions for a Mastering Engineer! Calling all Cat Box submissions! Here kitty, kitty. Johnny Cash Video Feature: Louis Armstrong and Johnny Cash - Blue Yodel No. 9 Johnny Cash's Last Recorded Performance at the Carter Family Fold July 5, 2003. Gear Review: The Epiphone Valve Jr. See The Amp Head See The Speaker Cabinet Mike's credit card just FLEW out of his wallet for this one. Featured Performance: Al fininshed his work on the french dance/chill song One Step Away. Check out the final master! We'll let you know where you can pick up the album as soon as it's released. The artist is VillaBlue, which is Juanite Grande and Pascal De Falco. VillaBlue On MySpace Juanita Grande's Web Site The Stupid Knob: Moby, The Vegan Vampire! Answer To Last Week's Trivia Question: Q: In spite of the fact that much of his time was devoted to his role on Rawhide, the western TV series, this actor had time to record a major novelty hit. Who was he and what was the song? A: He was Sheb Wooley and the song was Purple People Eater! This week's winner is Patrique Osbourne. Congratulations Patrique, you're taking home a copy of Guitar and Drum Trainer courtesy of Ryan Smith over at GuitarAndDrumTrainer.com. Honorable mention goes out to Jonathan McMillan and Steven Moore. Great job! See you next week! Related Tags: music recording studio home studio project studio mixing protools plugin frappr creative commons digidesign mix it like a record project studio network bob brooks unsung heroes of the music business the stupid knob lane sumner mac pro 8 core musicrow drum queen roland tr 808 roland tr 909 sequencial drumtraks the school of audio engineering ardour de la mancha dynamite cowbell plugin les paul stax records johnny cash epiphone valve junior villablue moby sheb wooley clint eastwood purple people eater rawhide grand ole opry blue velvets golliwogs