Podcasts about Slim Gaillard

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Play Episode Listen Later Dec 27, 2020 62:12

"Swing dance" is a group of dances that developed with the swing style of jazz music in the 1920s-1950s, the origin of the dances predating popular "swing era" music. The most well-known of these dances is Lindy Hop, a fusion of jazz, tap, breakaway, and Charleston, which originated in Harlem in the early 1920s, but includes a number of other styles such as Balboa, Shag, West Coast Swing, and Boogie Woogie. “Sunday Swing” highlights the music of the swing era and the dances that thrived in the ballrooms and dance halls. Danny Lane guides you through a one hour swing session. Do the Lindy Hop or choose your favorite dance. Just keep swingin'. ***** Join the conversation on Facebook at https://www.facebook.com/profile.php?id=100008232395712 ***** or by email at: dannymemorylane@gmail.com ***** You’ll hear: 1) Take The "A" Train by Duke Ellington & His Famous Orchestra 2) Your Feets Too Big by Fats Waller 3) Smooth Sailing by Ella Fitzgerald (with The Bill Doggett & Orch.) 4) Rock 'n' Roll by Red Prysock Band 5) Boo-Wah Boo-Wah by Cab Calloway 6) 'Tain't What You Do (It's The Way That You Do It) by Jimmie Lunceford (with Trummy Young, vocal) 7) Jeep Jockey Jump by Major Glenn Miller & The 418th Army Air Force Training Command Band 8) Good Rockin' Tonight by Wynonie Harris 9) Savoy by Lucky Millinder 10) Big John's Special by Benny Goodman & His Orchestra 11) The Dirty Boogie by The Brian Setzer Orchestra 12) Hey! Ba-Ba-Re-Bop by Lionel Hampton 13) Caldonia by Louis Jordan 14) Killin' Jive by Cats & The Fiddle 15) Skyliner by The Manhattan Transfer 16) Palm Springs Jump by Slim & Slam (Slam Stewart and Slim Gaillard & His Flat Foot Floogie Boys) 17) Things Ain't What They Used To Be by Charlie Barnet & His Orchestra 18) The Ball Game by Sister Wynona Carr 19) Back Bay Shuffle by Artie Shaw & His Orchestra 20) The Frim Fram Sauce by Louis Armstrong & Ella Fitzgerald 21) Yes, Indeed! by Tommy Dorsey & His Orchestra

FREE EXOTIQUE - EN CADENCE #143

Euradio

Play Episode Listen Later Dec 3, 2020 59:30

Voici le cent quarante-troisième opus d'"En Cadence", une émission mensuelle consacrée aux grands thèmes éternels de la musique populaire : l'amour, les voyages, les filles, les crevettes ou les avocats. Nous débuterons cette année scolaire par un thématique mêlant jazz et fruits tropicaux, sa consommation journalière vous garantissant vos besoins quotidiens en vitamines. Une véritable concentration d'énergie, un bienfait pour votre corps, très peu caloriques, nos drôles de fruits sont idéaux pour repartir du bon pied. Liste des morceaux : 01. Michel Magne et son grand orchestre - The Peanut Vendor 02. Hadouk - Le Cinquième fruit 03. Dorothy Ashby - Joyful Grass & Grape 04. Rabih Abou-Khalil - Mango 05. Weldon Irvine - Bananas 06. Charlie Parker - Mango Mangue 07. Steve Coleman and Five Elements - Salt Peanuts 08. Slim Gaillard & his Boogiereeners - Tutti Frutti 09. Grupo Los Yoyi - Banana 10. Medeski Martin and Wood - Coconut Boogaloo 11. Jack McDuff - Gin and Orange 12. Sons Of Kemet - Breadfruit 13. Herbie Hancock - Watermelon Man 14. Roy Meriwether - Jungle Plum

Sunday Swing #7 – Heading To The Cotton Club

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Play Episode Listen Later Oct 25, 2020 59:29

One hour of non-stop swing music. Danny Lane brings back memories of times at The Cotton Club. Swing music is back, in a big way. Dance like no one is watching. Keep swingin’. In this episode you’ll hear: 1) Sing Me A Swing Song by Chick Webb & Ella Fitzgerald 2) You Never Know How You Look by Les Brown & His Orchestra 3) At The Fat Man's by Tommy Dorsey & His Orchestra (Charlie Shavers, vocal) 4) Topsy by Count Basie & His Orchestra 5) The Joint is Really Jumpin' Down At Carnegie Hall by The Vaughn Monroe Orchestra 6) Pompton Turnpike by Charlie Barnet & His Orchestra 7) Jukebox Saturday Night by Glenn Miller (w/ Marion Hutton, Tex Beneke & The Modernaires, vocals) 8) Tuxedo Junction by Dave Pell & His Orchestra 9) Palm Springs Jump by Slim & Slam (Slam Stewart & Slim Gaillard & His Flat Foot Floogie Boys) 10) Blue Lou by The Metronome All-Star Band 11) You Couldn't Be Cuter by Benny Goodman & His Big Band (Martha Tilton, vocal) 12) Northwest Passage by Woody Herman 13) A Fine Romance by Lena Horne 14) What Is This Thing Called Love? By Artie Shaw & His Orchestra (Mel Torme & His Mel-Tones, vocals) 15) The Peanut Vendor by Stan Kenton & His Orchestra 16) Rockin' in Rhythm by Duke Ellington & His Orchestra and Ella Fitzgerald 17) Sing, Sing, Sing by Buddy Rich Quintet & Max Roach Quintet 18) You Make Me Feel So Young by Nancy Wright 19) Flying Home by Lionel Hampton & His Orchestra

Jess Gillam with... Stephanie Wake-Edwards

This Classical Life

Play Episode Listen Later Oct 3, 2020 26:59

Jess Gillam talks to mezzo-soprano Stephanie Wake-Edwards about the music they love, including the overture to Mozart's Don Giovanni, Jessye Norman singing Mahler, Lianne La Havas singing Radiohead and Slim Gaillard singing about his Cement Mixer!

Broadcasting From Home Podcast 106

Broadcasting From Home

Play Episode Listen Later Sep 27, 2020 63:50

Deep in the darkness of the new Studio P, Scrappy’s back for another celebration of 10 years of Podcast glory! That’s right, two Sundays, two celebrations. This week’s show features favorites from the past 104 broadcasts including music from Sylvan Esso, Slim Gaillard, Betty LaVette, Yo La Tengo, The Jackson 5, and much more. So... The post Broadcasting From Home Podcast 106 appeared first on Broadcasting From Home.

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Moeder & Dochter Draaien Door 080 - Samen met Zoonlief :)

Adeline Draait Weer (40UP Radio)

Play Episode Listen Later Sep 18, 2020 59:31

Moeder & Dochter zijn dit keer uitgebreid met zoonlief. Plaatjes voor eten: Anthony Hamilton, Charles Mingus, Josephine Baker, Ben Pearce, Slim Gaillard en meer.

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En cadence #143 : Free exotique

Du spectacle

Play Episode Listen Later Sep 8, 2020

Voici le cent quarante-troisième opus d'"En Cadence", une émission mensuelle consacrée aux grands thèmes éternels de la musique populaire : l'amour, les voyages, les filles, les crevettes ou les avocats.Nous débuterons cette année scolaire par un thématique mêlant jazz et fruits tropicaux, sa consommation journalière vous garantissant vos besoins quotidiens en vitamines. Une véritable concentration d'énergie, un bienfait pour votre corps, très peu caloriques, nos drôles de fruits sont idéaux pour repartir du bon pied.Liste des morceaux :01. Michel Magne et son grand orchestre - The Peanut Vendor02. Hadouk - Le Cinquième fruit03. Dorothy Ashby - Joyful Grass & Grape04. Rabih Abou-Khalil - Mango05. Weldon Irvine - Bananas 06. Charlie Parker - Mango Mangue07. Steve Coleman and Five Elements - Salt Peanuts08. Slim Gaillard & his Boogiereeners - Tutti Frutti09. Grupo Los Yoyi - Banana10. Medeski Martin and Wood - Coconut Boogaloo11. Jack McDuff - Gin and Orange12. Sons Of Kemet - Breadfruit13. Herbie Hancock - Watermelon Man14. Roy Meriwether - Jungle Plum01. Laurent Voulzy - La MadragueÉcouter

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The Key To A Lockdown – Big Band Swing

Play Episode Listen Later Aug 19, 2020 117:34

Guaranteed to get you out of that “lockdown funk” - The Swingin’ With Danny Lane series highlights the music of the swing era and the dances that thrived in the ballrooms and dance halls. Danny Lane guides you through a two hour swing session. Do the Lindy Hop or choose your favorite dance. Just keep swingin'. ----- Join the conversation on Facebook at https://www.facebook.com/profile.php?id=100008232395712 ------ or by email at dannymemorylane@gmail.com ------ In this episode, you’ll hear: ---- 1) Tuxedo Junction by Debbie Curtis Radio Big Band 2) C Jam Blues by Duke Ellington 3) Saturday Night (Is The Loneliest Night In The Week) by Frank Sinatra 4) Ding Dong Daddy Of The D-Car Line by Cherry Poppin' Daddies 5) One O'Clock Jump by Red Bank Jazz Orchestra & Joe Muccioli 6) Frenesi by Eydie Gormé 7) Swingin' The Blues by Count Basie & His Orchestra 8) Gene's Boogie by Gene Krupa 9) Let's Dance by Benny Goodman & His Orchestra 10) Ain't Misbehavin' by Louis Armstrong 11) Forty-Second Street by Somethin' Smith & The Redheads 12) For Dancers Only by Ray Anthony & His Orchestra 13) Trickle, Trickle by The Manhattan Transfer 14) Tune Up by Junior Walker & The All Stars 15) One Of Them Good Ones by Buddy Johnson & His Band 16) A Gal in Calico by Tex Beneke and His Orchestra Playing the Music Made Famous by Glenn Miller 17) My Blue Heaven by Glenn Miller & His Orchestra 18) Juke Box Baby by Perry Como 19) Black Bottom by Bunny Berigan 20) Manhattan Spiritual by Reg Owen Orchestra 21) Take The "A" Train by Duke Ellington & His Famous Orchestra 22) Your Feets Too Big by Fats Waller 23) Smooth Sailing by Ella Fitzgerald 24) Rock 'n' Roll by Red Prysock Band 25) Boo-Wah Boo-Wah by Cab Calloway 26) 'Tain't What You Do (It's The Way That You Do It) by Jimmie Lunceford 27) Jeep Jockey Jump by Glenn Miller & His Orchestra 28) Good Rockin' Tonight by Wynonie Harris 29) Savoy by Lucky Millinder 30) Big John's Special by Benny Goodman & His Orchestra 31) Hey! Ba-Ba-Re-Bop by Lionel Hampton 32) Caldonia by Louis Jordan 33) Killin' Jive by Cats & The Fiddle 34) Skyliner by The Manhattan Transfer 35) Palm Springs Jump by Slim & Slam (Slam Stewart & Slim Gaillard & His Flat Foot Floogie Boys) 36) Things Ain't What They Used To Be by Charlie Barnet & His Orchestra 37) The Ball Game by Sister Wynona Carr 38) Back Bay Shuffle by Artie Shaw & His Orchestra 39) The Frim Fram Sauce by Louis Armstrong & Ella Fitzgerald 40) Yes, Indeed! by Tommy Dorsey & His Orchestra

Episode 90: "Runaway" by Del Shannon

Play Episode Listen Later Jul 18, 2020 32:06

Episode ninety of A History of Rock Music in Five Hundred Songs looks at "Runaway" by Del Shannon, and at the early use of synthesised sound in rock music. 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 "Blue Moon" by the Marcels. 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---- A note Almost every version of “Runaway” currently available is in stereo, and the stereo version of the song has a slightly different vocal take to the original mono version. Unfortunately, there appear to be multiple “original mono versions” too. To check that what I'm using here, a mono track available as a bonus on a reissue of the album Runaway With Del Shannon, is actually the hit single version, I downloaded two vinyl rips of the single and one vinyl rip of a mono hits compilation from the sixties that had been uploaded to YouTube. Unfortunately no two copies of the song I could find online would play in synch – they all appear to be mastered at slightly different speeds, possibly due to the varispeeding I talk about in the episode. I've gone with the version I did because it's a clean-sounding mono version, but it may not be exactly what people heard in 1961. Resources As always, I've created a Mixcloud streaming playlist with full versions of all the songs in the episode. This one is in two parts because of the number of songs by Del Shannon in the mix. Part one, part two. Only one biography of Del Shannon has ever been written, and that's out of print and (to judge from the Amazon reviews) not very well written, so I've relied again on other sources. Those include the liner notes to this CD, a good selection of Shannon's work (with the proviso that "Runaway" is in stereo -- see above; the articles on Shannon and Max Crook on This Is My Story, the official Del Shannon website, and the Internet Archive's cached copy of Max Crook's old website. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript Today's episode is an odd one to write, as just as I put the finishing touches to the script I discovered that Max Crook, the keyboard player at the centre of this story, died less than two weeks ago. The news wasn't widely reported, and I only discovered this by double-checking a detail and discovering an obituary of him. Crook was one of the great early pioneers of electronic music, and a massive talent, and he's a big part of the story I'm telling today, so before we go into the story proper I just wanted to take a moment to acknowledge his passing, and to regret that it hasn't been more widely noted. One of the things we've not talked about much in this podcast so far is the technology of music. We've discussed it a bit -- we've looked at how things like the change from 78s to 45s affected the music industry, at the transition from recording on discs to recording on tape, at the electrification of the guitar, and at Les Paul's inventions. But in general, the music we've looked at has been made in a fairly straightforward manner -- some people with some combination of guitars, bass, piano, drums, and saxophone, and maybe a few string players on the most recent recordings, get together in front of a microphone and sing and play those instruments. But today, we're going to look at the start of synthesisers being used in rock and roll music. Today we're going to look at "Runaway" by Del Shannon: [Excerpt: Del Shannon, "Runaway"] Synthesised sound has a far longer pedigree than you might expect. The use of electronics to create music goes back to the invention of the theremin and the ondes martenot in the 1920s, and by the 1930s, people had already started using polyphonic keyboard-based electronic instruments. The Novachord was produced by the Hammond organ company between 1938 and 1942, and was introduced at the World's Fair in 1939, where Ferdinand Grofe, who we talked about a little in the episode on "Cathy's Clown", led a group consisting only of Novachord players in a public performance. The Novachord never achieved mass popularity because of World War II halting its production, but it was still used in a few recordings. One that's of particular interest to those of us interested in early rock and roll is Slim Gaillard's "Novachord Boogie": [Excerpt: Slim Gaillard, "Novachord Boogie"] But also it was used on one of the most famous records of the late thirties. These days, when you hear "We'll Meet Again" by Vera Lynn on documentaries about the second world war, this is the version you hear: [Excerpt: Vera Lynn, "We'll Meet Again"] But the record that people actually listened to in World War II didn't have any of that orchestration. It was Lynn accompanied by a single instrument, a Novachord played by Arthur Young, and is notably more interesting and less syrupy: [Excerpt: Vera Lynn with Arthur Young on Novachord, "We'll Meet Again"] So even in the late thirties, synthesised sounds were making their way on to extremely popular recordings, but it wasn't until after the war that electronic instruments started getting used in a major way. And the most popular of those instruments was a monophonic keyboard instrument called the clavioline, which was first produced in 1947. The clavioline was mostly used as a novelty element, but it appeared on several hit records. We're going to devote a whole episode in a few months' time to a record with the clavioline as lead instrument, but you can hear it on several fifties novelty records, like "Little Red Monkey" by Frank Chacksfield's Tunesmiths, a UK top ten hit from 1953: [Excerpt: Frank Chacksfield's Tunesmiths, "Little Red Monkey"] But while the clavioline itself was in use quite widely in the fifties, the first big rock and roll hit with an electronic synthesiser actually used a modified clavioline called a musitron, which was put together by an electronics amateur and keyboard player named Max Crook, from Ann Arbor, Michigan. Crook had built his musitron using a clavioline as a base, but adding parts from TVs, reel-to-reel recorders, and bits of whatever electronic junk he could salvage parts from. He'd started playing electronic instruments in his teens, and had built his own recording studio. Sadly, the early records Crook made are not easily available. The only place I've been able to track down copies of his early singles in a digital format is one grey-market CD, which I wasn't able to obtain in time to include the tracks here and which only seems to be available from one shop in Cornwall. His first band, the White Bucks, released a single, "Get That Fly" backed with "Orny", on Dot Records, but I can tell you from experience that if you search anywhere online for "White Bucks Orny" you will find... well, not that record, anyway. Even more interestingly, he apparently recorded a version of "Bumble Boogie", the novelty instrumental that would later become a hit for B. Bumble and the Stingers, with Berry Gordy at some point in the late fifties. Sadly, that too is not generally available. But it wasn't until he auditioned for Charlie Johnson and the Big Little Show Band that Max Crook met the people who were going to become his most important collaborators. The Big Little Show Band had started as Doug DeMott and The Moonlight Ramblers, a honky-tonk band that played at the Hi-Lo Club in Battle Creek, Michigan. Battle Creek is a company town, midway between Chicago and Detroit, which is most famous as being the headquarters of the Kellogg company, the cereal manufacturer and largest employer there. It's not somewhere you'd expect great rock and roll to come from, being as it is a dull medium-sized town with little in the way of culture or nightlife. The Hi-Lo Club was a rough place, frequented by hard-working, hard-drinking people, and Doug DeMott had been a hard drinker himself -- so hard a drinker, in fact, that he was soon sacked. The group's rhythm guitarist, Charles Westover, had changed his name to Charlie Johnson and put together a new lineup of the group based around himself and the bass player, Loren Dugger. They got in a new drummer, Dick Parker, and then went through a couple of guitarists before deciding to hire a keyboard player instead. Once they auditioned Crook, with his musitron, which he could clip to the piano and thus provide chordal piano accompaniment while playing a lead melody on his musitron, they knew they had the right player for them. Crook had a friend, a black DJ named Ollie McLaughlin, who had music industry connections, and had been involved in the White Bucks recordings. Crook and Johnson started writing songs and recording demos for McLaughlin, who got Johnson a session with Irving Micahnik and Harry Balk, two record producers who were working with Johnny and the Hurricanes, an instrumental group who'd had a big hit with "Red River Rock" a year or so previously: [Excerpt: Johnny and the Hurricanes, "Red River Rock"] Johnson recorded two songs in New York, without his normal musicians backing him. However, Micahnik and Balk thought that the tracks were too dirgey, and Johnson was singing flat -- and listening to them it's not hard to see why they thought that: [Excerpt: Del Shannon, "The Search"] They told him to go back and come up with some more material that was less dirgey. Two things did come out of the association straight away, though. The first was that Charles Johnson changed his name again, combining a forename he chose to be reminiscent of the Cadillac Coup deVille with a surname he took from an aspiring wrestler he knew, Mark Shannon, to become Del Shannon. The second was that Johnny and the Hurricanes recorded one of Max Crook's instrumentals, "Mr Lonely", as a B-side, and you can hear in the Hammond organ part the kind of part that Crook would have been playing on his Musitron: [Excerpt: Johnny and the Hurricanes, "Mr Lonely"] Shannon and Crook recorded a tape of many other songs they were working on for McLaughlin to play to Micahnik and Balk, but they weren't interested -- until they heard a fragment of a song that Shannon and Crook had recorded, and which they'd then mostly taped over. That song, "Runaway", was the one they wanted. "Runaway" had been an idea that had happened almost by accident. The band had been jamming on stage, and Crook had hit a chord change that Shannon thought sounded interesting -- in later tellings of the story, this is always the Am-G chord change that opens the song, but I suspect the actual chord change that caught his ear was the one where they go to an E major chord rather than the expected G or E minor on the line “As our hearts were young”. That's the only truly unusual chord change in the song. But whatever it was, Shannon liked the changes that Crook was playing -- he and Crook would both later talk about how bored he was with the standard doo-wop progression that made up the majority of the songs they were playing at the time -- and the band ended up jamming on the new chord sequence for fifteen or twenty minutes before the club owner told them to play something else. The next day, Shannon took his guitar to the carpet shop where he worked, and when there were no customers in, he would play the song to himself and write lyrics. He initially wrote two verses, but decided to scrap one. They performed the song, then titled "My Little Runaway", that night, and it became a regular part of their set. The crucial element in the song, though, came during that first performance. Shannon said, just before they started, "Max, when I point to you, play something". And so when Shannon got to the end of the chorus, he pointed, and Crook played this: [Excerpt: Del Shannon, "Runaway"] When they were told that Micahnik and Balk liked the fragment of song that they'd heard, Shannon and Crook recorded a full demo of the song and sent it on to them. The producers weren't hugely impressed with the finished song, saying they thought it sounded like three songs trying to coexist, and they also didn't like Shannon's voice, but they *did* like Crook and the Musitron, and so they invited Crook and Shannon to come to New York to record. The two men drove seven hundred miles in a broken-down car, with their wives, to get from Michigan to New York. It was the middle of winter, the car had no heating, and Shannon smoked while Crook was allergic to tobacco smoke, so they had to keep the windows open. The session they were going to do was a split session -- they were going to record two Del Shannon vocal tracks, and two instrumentals by Crook, who was recording under the name "Maximilian" without a surname (though the "Max" in his name was actually short for Maxfield). Crook was definitely the one they were interested in -- he rearranged the way the microphones were arranged in the studio, to get the sound he wanted rather than the standard studio sound, and he also had a bag full of gadgets that the studio engineers were fascinated by, for altering the Musitron's sound. The first single released as by "Maximilian" was "The Snake", which featured Crook and Shannon's wives on handclaps, along with an additional clapper who was found on the street and paid forty dollars to come in and clap along: [Excerpt: Maximilian, "The Snake"] After that, the two women got bored and wandered off down Broadway. They eventually found themselves in the audience for a TV game show, Beat the Clock, and Joann Crook ended up a contestant on the show -- their husbands didn't believe them, when they explained later where they'd been, until acquaintances mentioned having seen Joann on TV. Meanwhile, the two men were working on another Maximillian track, and on two Del Shannon tracks, one of which was "Runaway". They couldn't afford to stay overnight in New York, so they drove back to Michigan, but when the record company listened to "Runaway", they discovered that Shannon had been singing flat due to nerves. Shannon had to go back to New York, this time by plane, to rerecord his vocals. According to Crook, even this wasn't enough, and the engineers eventually had to varispeed his vocals to get them in key with the backing track. I'm not at all sure how this would have worked, as speeding up his vocals would have also meant that he was singing at a different tempo, but that's what Crook said, and the vocal does have a slightly different quality to it. And Harry Balk backed Crook up, saying "We finally got Del on key, and it sounded great, but it didn't sound like Del. We mixed it anyhow, and it came out wonderful. When I brought Ollie and Del into my office to hear it, Del had a bit of a fit. He said, 'Harry, that doesn't even sound like me!' I just remember saying, 'Yeah but Del, nobody knows what the hell you sound like!" Like most great records, "Runaway" was the sum of many parts. Shannon later broke down all the elements that went into the song, saying: "I learned falsetto from The Ink Spots' 'We Three,'": [Excerpt: The Ink Spots, "We Three (My Echo, My Shadow, and Me)"] "I eventually got hooked on Jimmy Jones' 'Handy Man' in '59 and would sing that at the Hi-Lo Club.": [Excerpt: Jimmy Jones, "Handy Man"] "I always had the idea of 'running away' somewhere in the back of my mind. 'I wa-wa-wa-wa-wonder, why...' I borrowed from Dion & The Belmonts' 'I Wonder Why.'" [Excerpt: Dion and the Belmonts, "I Wonder Why"] "The beats you hear in there, '...I wonder, bam-bam-bam, I wa-wa...' I stole from Bobby Darin's 'Dream Lover.'" [Excerpt: Bobby Darin, "Dream Lover"] Listening to the song, you can definitely hear all those elements that Shannon identifies in there, but what emerges is something fresh and original, unlike anything else out at the time: [Excerpt: Del Shannon, "Runaway"] "Runaway" went to number one in almost every country that had a chart at the time, and top five in most of the rest. In America, the song it knocked off the top was "Blue Moon" by the Marcels, one of those songs with the doo-wop progression that Shannon had been so bored with. At its peak, it was selling eighty thousand copies a day, and Billboard put it at number three hundred and sixty four on the all-time charts in 2018. It was a massive success, and a game-changer in the music industry. Maximilian's single, on the other hand, only made the top forty in Argentina. Clearly, Del Shannon was the artist who was going to be worth following, but they did release a few more singles by Maximilian, things like "The Twisting Ghost": [Excerpt: Maximilian, "The Twisting Ghost"] That made the Canadian top forty, but Maximilian never became a star in his own right. Shannon, on the other hand, recorded a string of hits, though none were as successful as "Runaway". The most successful was the follow-up, "Hats off to Larry", which was very much "Runaway part 2": [Excerpt: Del Shannon, "Hats off to Larry"] But every single he released after that was slightly less successful than the one before. He soon stopped working with Crook, who remained at the Hi-Lo Club with the rest of the band while Shannon toured the country, and without Crook's Musitron playing his records were far less interesting than his earliest singles, though he did have the distinction of being one of the few singers of this era to write the bulk of his own material. He managed to further sabotage his career by suing Micahnik and Balk, and by 1963 he was largely washed up, though he did do one more thing that would make him at least a footnote in music history for something other than "Runaway". He was more popular in the UK than in the US, and he even appeared in the film "It's Trad Dad!", a cheap cash-in on the trad jazz craze, starring Helen Shapiro and Craig Douglas as teenagers who try to persuade the stuffy adults who hate the young people's music that the Dukes of Dixieland, Mr. Acker Bilk and the Temperance Seven are not dangerous obscene noises threatening the morals of the nation's youth. That film also featured Gene Vincent and Chubby Checker along with a lot of British trumpet players, and was the first feature film made by Richard Lester, who we'll be hearing more about in this story. So Shannon spent a fair amount of time in the UK, and in 1963 he noticed a song by a new British group that was rising up the UK charts and covered it. His version of "From Me to You" only made number seventy-seven on the US charts, but it was still the first version of a Lennon/McCartney song to make the Hot One Hundred: [Excerpt: Del Shannon, "From Me to You"] He made some interesting records in the rest of the sixties, and had the occasional fluke hit, but the music he was making, a unique blend of hard garage rock and soft white doo-wop, was increasingly out of step with the rest of the industry. In the mid and late sixties, his biggest successes came with songwriting and productions for other artists. He wrote "I Go to Pieces" which became a hit for Peter & Gordon: [Excerpt: Peter and Gordon, "I Go to Pieces"] Produced the band Smith in their cover version of "Baby It's You", which made the top five: [Excerpt: Smith, "Baby It's You"] And produced Brian Hyland's million-selling version of a Curtis Mayfield song that I'm not going to play, because its title used a racial slur against Romani people which most non-Romani people didn't then regard as a slur, but which is a great record if you can get past that. That Hyland record featured Crook, reunited briefly with Shannon. But over the seventies Shannon seemed increasingly lost, and while he continued to make records, including some good ones made in the UK with production by Dave Edmunds and Jeff Lynne, he was increasingly unwell with alcoholism. He finally got sober in 1978, and managed to have a fluke hit in 1981 with a cover version of Phil Phillips' "Sea of Love", produced by Tom Petty and with Petty's band the Heartbreakers backing him: [Excerpt: Del Shannon, "Sea of Love"] He also came to people's attention when a rerecorded version of "Runaway" with new lyrics was used as the theme for the TV show Crime Story. In 1989, Del Shannon was working on a comeback album, with Jeff Lynne producing and members of Tom Petty and the Heartbreakers as backing musicians. The same people had previously worked on Roy Orbison's last album, which had been his biggest success in decades, and Lynne was gaining a reputation for resuscitating the careers of older musicians. Both Lynne and Petty were fans of Shannon and had worked with him previously, and it seemed likely that he might be able to have a hit with some of the material he was working on. Certainly "Walk Away", which Shannon co-wrote with Lynne and Petty, sounds like the kind of thing that was getting radio play around that time: [Excerpt: Del Shannon, "Walk Away"] There were even rumours that Lynne and Petty were thinking of inviting Shannon to join the Travelling Wilburys to replace Roy Orbison, though that seems unlikely to me. Unfortunately, by the time the album came out, Shannon was dead. He'd been suffering from depression for decades, and he died of suicide in early 1990, aged fifty-five. His widow later sued the manufacturers of the new wonder drug, Prozac, which he'd been prescribed a couple of weeks earlier, claiming that it caused his death. Max Crook, meanwhile, had become a firefighter and burglar alarm installer, while also pursuing a low-key career in music, mostly making religious music. When Shannon was posthumously inducted into the Rock and Roll Hall of Fame, Crook volunteered to perform at the ceremony, playing his original Musitron, but his offer was ignored. In later years he would regularly show up at annual celebrations of Shannon, and talk about the music they made together, and play for their fans. He died on July the first this year, aged eighty-three.

america tv love new york amazon history world chicago uk british canadian dj michigan detroit argentina world war ii broadway sea cd hurricanes clowns rock and roll lonely pieces snake clock billboard runaways hats petty bumble tvs hammond ann arbor cornwall tom petty kellogg rock and roll hall of fame crooks dukes mclaughlin tilt mixcloud blue moon rock music internet archive romani roy orbison heartbreakers prozac curtis mayfield crime stories amg les paul balk battle creek berry gordy baby it bobby darin jeff lynne chubby checker from me charles johnson dixieland stingers maxfield maximillian del shannon richard lester lennon mccartney vera lynn gene vincent dave edmunds belmonts ink spots my shadow marcels charlie johnson this is my story jimmy jones travelling wilburys craig douglas helen shapiro acker bilk phil phillips slim gaillard orny mark shannon tilt araiza

Episode 90: “Runaway” by Del Shannon

Adeline Draait Weer (40UP Radio)

Play Episode Listen Later Jul 18, 2020

Episode ninety of A History of Rock Music in Five Hundred Songs looks at “Runaway” by Del Shannon, and at the early use of synthesised sound in rock music. 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 “Blue Moon” by the Marcels. 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—- A note Almost every version of “Runaway” currently available is in stereo, and the stereo version of the song has a slightly different vocal take to the original mono version. Unfortunately, there appear to be multiple “original mono versions” too. To check that what I’m using here, a mono track available as a bonus on a reissue of the album Runaway With Del Shannon, is actually the hit single version, I downloaded two vinyl rips of the single and one vinyl rip of a mono hits compilation from the sixties that had been uploaded to YouTube. Unfortunately no two copies of the song I could find online would play in synch – they all appear to be mastered at slightly different speeds, possibly due to the varispeeding I talk about in the episode. I’ve gone with the version I did because it’s a clean-sounding mono version, but it may not be exactly what people heard in 1961. Resources As always, I’ve created a Mixcloud streaming playlist with full versions of all the songs in the episode. This one is in two parts because of the number of songs by Del Shannon in the mix. Part one, part two. Only one biography of Del Shannon has ever been written, and that’s out of print and (to judge from the Amazon reviews) not very well written, so I’ve relied again on other sources. Those include the liner notes to this CD, a good selection of Shannon’s work (with the proviso that “Runaway” is in stereo — see above; the articles on Shannon and Max Crook on This Is My Story, the official Del Shannon website, and the Internet Archive’s cached copy of Max Crook’s old website. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript Today’s episode is an odd one to write, as just as I put the finishing touches to the script I discovered that Max Crook, the keyboard player at the centre of this story, died less than two weeks ago. The news wasn’t widely reported, and I only discovered this by double-checking a detail and discovering an obituary of him. Crook was one of the great early pioneers of electronic music, and a massive talent, and he’s a big part of the story I’m telling today, so before we go into the story proper I just wanted to take a moment to acknowledge his passing, and to regret that it hasn’t been more widely noted. One of the things we’ve not talked about much in this podcast so far is the technology of music. We’ve discussed it a bit — we’ve looked at how things like the change from 78s to 45s affected the music industry, at the transition from recording on discs to recording on tape, at the electrification of the guitar, and at Les Paul’s inventions. But in general, the music we’ve looked at has been made in a fairly straightforward manner — some people with some combination of guitars, bass, piano, drums, and saxophone, and maybe a few string players on the most recent recordings, get together in front of a microphone and sing and play those instruments. But today, we’re going to look at the start of synthesisers being used in rock and roll music. Today we’re going to look at “Runaway” by Del Shannon: [Excerpt: Del Shannon, “Runaway”] Synthesised sound has a far longer pedigree than you might expect. The use of electronics to create music goes back to the invention of the theremin and the ondes martenot in the 1920s, and by the 1930s, people had already started using polyphonic keyboard-based electronic instruments. The Novachord was produced by the Hammond organ company between 1938 and 1942, and was introduced at the World’s Fair in 1939, where Ferdinand Grofe, who we talked about a little in the episode on “Cathy’s Clown”, led a group consisting only of Novachord players in a public performance. The Novachord never achieved mass popularity because of World War II halting its production, but it was still used in a few recordings. One that’s of particular interest to those of us interested in early rock and roll is Slim Gaillard’s “Novachord Boogie”: [Excerpt: Slim Gaillard, “Novachord Boogie”] But also it was used on one of the most famous records of the late thirties. These days, when you hear “We’ll Meet Again” by Vera Lynn on documentaries about the second world war, this is the version you hear: [Excerpt: Vera Lynn, “We’ll Meet Again”] But the record that people actually listened to in World War II didn’t have any of that orchestration. It was Lynn accompanied by a single instrument, a Novachord played by Arthur Young, and is notably more interesting and less syrupy: [Excerpt: Vera Lynn with Arthur Young on Novachord, “We’ll Meet Again”] So even in the late thirties, synthesised sounds were making their way on to extremely popular recordings, but it wasn’t until after the war that electronic instruments started getting used in a major way. And the most popular of those instruments was a monophonic keyboard instrument called the clavioline, which was first produced in 1947. The clavioline was mostly used as a novelty element, but it appeared on several hit records. We’re going to devote a whole episode in a few months’ time to a record with the clavioline as lead instrument, but you can hear it on several fifties novelty records, like “Little Red Monkey” by Frank Chacksfield’s Tunesmiths, a UK top ten hit from 1953: [Excerpt: Frank Chacksfield’s Tunesmiths, “Little Red Monkey”] But while the clavioline itself was in use quite widely in the fifties, the first big rock and roll hit with an electronic synthesiser actually used a modified clavioline called a musitron, which was put together by an electronics amateur and keyboard player named Max Crook, from Ann Arbor, Michigan. Crook had built his musitron using a clavioline as a base, but adding parts from TVs, reel-to-reel recorders, and bits of whatever electronic junk he could salvage parts from. He’d started playing electronic instruments in his teens, and had built his own recording studio. Sadly, the early records Crook made are not easily available. The only place I’ve been able to track down copies of his early singles in a digital format is one grey-market CD, which I wasn’t able to obtain in time to include the tracks here and which only seems to be available from one shop in Cornwall. His first band, the White Bucks, released a single, “Get That Fly” backed with “Orny”, on Dot Records, but I can tell you from experience that if you search anywhere online for “White Bucks Orny” you will find… well, not that record, anyway. Even more interestingly, he apparently recorded a version of “Bumble Boogie”, the novelty instrumental that would later become a hit for B. Bumble and the Stingers, with Berry Gordy at some point in the late fifties. Sadly, that too is not generally available. But it wasn’t until he auditioned for Charlie Johnson and the Big Little Show Band that Max Crook met the people who were going to become his most important collaborators. The Big Little Show Band had started as Doug DeMott and The Moonlight Ramblers, a honky-tonk band that played at the Hi-Lo Club in Battle Creek, Michigan. Battle Creek is a company town, midway between Chicago and Detroit, which is most famous as being the headquarters of the Kellogg company, the cereal manufacturer and largest employer there. It’s not somewhere you’d expect great rock and roll to come from, being as it is a dull medium-sized town with little in the way of culture or nightlife. The Hi-Lo Club was a rough place, frequented by hard-working, hard-drinking people, and Doug DeMott had been a hard drinker himself — so hard a drinker, in fact, that he was soon sacked. The group’s rhythm guitarist, Charles Westover, had changed his name to Charlie Johnson and put together a new lineup of the group based around himself and the bass player, Loren Dugger. They got in a new drummer, Dick Parker, and then went through a couple of guitarists before deciding to hire a keyboard player instead. Once they auditioned Crook, with his musitron, which he could clip to the piano and thus provide chordal piano accompaniment while playing a lead melody on his musitron, they knew they had the right player for them. Crook had a friend, a black DJ named Ollie McLaughlin, who had music industry connections, and had been involved in the White Bucks recordings. Crook and Johnson started writing songs and recording demos for McLaughlin, who got Johnson a session with Irving Micahnik and Harry Balk, two record producers who were working with Johnny and the Hurricanes, an instrumental group who’d had a big hit with “Red River Rock” a year or so previously: [Excerpt: Johnny and the Hurricanes, “Red River Rock”] Johnson recorded two songs in New York, without his normal musicians backing him. However, Micahnik and Balk thought that the tracks were too dirgey, and Johnson was singing flat — and listening to them it’s not hard to see why they thought that: [Excerpt: Del Shannon, “The Search”] They told him to go back and come up with some more material that was less dirgey. Two things did come out of the association straight away, though. The first was that Charles Johnson changed his name again, combining a forename he chose to be reminiscent of the Cadillac Coup deVille with a surname he took from an aspiring wrestler he knew, Mark Shannon, to become Del Shannon. The second was that Johnny and the Hurricanes recorded one of Max Crook’s instrumentals, “Mr Lonely”, as a B-side, and you can hear in the Hammond organ part the kind of part that Crook would have been playing on his Musitron: [Excerpt: Johnny and the Hurricanes, “Mr Lonely”] Shannon and Crook recorded a tape of many other songs they were working on for McLaughlin to play to Micahnik and Balk, but they weren’t interested — until they heard a fragment of a song that Shannon and Crook had recorded, and which they’d then mostly taped over. That song, “Runaway”, was the one they wanted. “Runaway” had been an idea that had happened almost by accident. The band had been jamming on stage, and Crook had hit a chord change that Shannon thought sounded interesting — in later tellings of the story, this is always the Am-G chord change that opens the song, but I suspect the actual chord change that caught his ear was the one where they go to an E major chord rather than the expected G or E minor on the line “As our hearts were young”. That’s the only truly unusual chord change in the song. But whatever it was, Shannon liked the changes that Crook was playing — he and Crook would both later talk about how bored he was with the standard doo-wop progression that made up the majority of the songs they were playing at the time — and the band ended up jamming on the new chord sequence for fifteen or twenty minutes before the club owner told them to play something else. The next day, Shannon took his guitar to the carpet shop where he worked, and when there were no customers in, he would play the song to himself and write lyrics. He initially wrote two verses, but decided to scrap one. They performed the song, then titled “My Little Runaway”, that night, and it became a regular part of their set. The crucial element in the song, though, came during that first performance. Shannon said, just before they started, “Max, when I point to you, play something”. And so when Shannon got to the end of the chorus, he pointed, and Crook played this: [Excerpt: Del Shannon, “Runaway”] When they were told that Micahnik and Balk liked the fragment of song that they’d heard, Shannon and Crook recorded a full demo of the song and sent it on to them. The producers weren’t hugely impressed with the finished song, saying they thought it sounded like three songs trying to coexist, and they also didn’t like Shannon’s voice, but they *did* like Crook and the Musitron, and so they invited Crook and Shannon to come to New York to record. The two men drove seven hundred miles in a broken-down car, with their wives, to get from Michigan to New York. It was the middle of winter, the car had no heating, and Shannon smoked while Crook was allergic to tobacco smoke, so they had to keep the windows open. The session they were going to do was a split session — they were going to record two Del Shannon vocal tracks, and two instrumentals by Crook, who was recording under the name “Maximilian” without a surname (though the “Max” in his name was actually short for Maxfield). Crook was definitely the one they were interested in — he rearranged the way the microphones were arranged in the studio, to get the sound he wanted rather than the standard studio sound, and he also had a bag full of gadgets that the studio engineers were fascinated by, for altering the Musitron’s sound. The first single released as by “Maximilian” was “The Snake”, which featured Crook and Shannon’s wives on handclaps, along with an additional clapper who was found on the street and paid forty dollars to come in and clap along: [Excerpt: Maximilian, “The Snake”] After that, the two women got bored and wandered off down Broadway. They eventually found themselves in the audience for a TV game show, Beat the Clock, and Joann Crook ended up a contestant on the show — their husbands didn’t believe them, when they explained later where they’d been, until acquaintances mentioned having seen Joann on TV. Meanwhile, the two men were working on another Maximillian track, and on two Del Shannon tracks, one of which was “Runaway”. They couldn’t afford to stay overnight in New York, so they drove back to Michigan, but when the record company listened to “Runaway”, they discovered that Shannon had been singing flat due to nerves. Shannon had to go back to New York, this time by plane, to rerecord his vocals. According to Crook, even this wasn’t enough, and the engineers eventually had to varispeed his vocals to get them in key with the backing track. I’m not at all sure how this would have worked, as speeding up his vocals would have also meant that he was singing at a different tempo, but that’s what Crook said, and the vocal does have a slightly different quality to it. And Harry Balk backed Crook up, saying “We finally got Del on key, and it sounded great, but it didn’t sound like Del. We mixed it anyhow, and it came out wonderful. When I brought Ollie and Del into my office to hear it, Del had a bit of a fit. He said, ‘Harry, that doesn’t even sound like me!’ I just remember saying, ‘Yeah but Del, nobody knows what the hell you sound like!” Like most great records, “Runaway” was the sum of many parts. Shannon later broke down all the elements that went into the song, saying: “I learned falsetto from The Ink Spots’ ‘We Three,'”: [Excerpt: The Ink Spots, “We Three (My Echo, My Shadow, and Me)”] “I eventually got hooked on Jimmy Jones’ ‘Handy Man’ in ’59 and would sing that at the Hi-Lo Club.”: [Excerpt: Jimmy Jones, “Handy Man”] “I always had the idea of ‘running away’ somewhere in the back of my mind. ‘I wa-wa-wa-wa-wonder, why…’ I borrowed from Dion & The Belmonts’ ‘I Wonder Why.'” [Excerpt: Dion and the Belmonts, “I Wonder Why”] “The beats you hear in there, ‘…I wonder, bam-bam-bam, I wa-wa…’ I stole from Bobby Darin’s ‘Dream Lover.'” [Excerpt: Bobby Darin, “Dream Lover”] Listening to the song, you can definitely hear all those elements that Shannon identifies in there, but what emerges is something fresh and original, unlike anything else out at the time: [Excerpt: Del Shannon, “Runaway”] “Runaway” went to number one in almost every country that had a chart at the time, and top five in most of the rest. In America, the song it knocked off the top was “Blue Moon” by the Marcels, one of those songs with the doo-wop progression that Shannon had been so bored with. At its peak, it was selling eighty thousand copies a day, and Billboard put it at number three hundred and sixty four on the all-time charts in 2018. It was a massive success, and a game-changer in the music industry. Maximilian’s single, on the other hand, only made the top forty in Argentina. Clearly, Del Shannon was the artist who was going to be worth following, but they did release a few more singles by Maximilian, things like “The Twisting Ghost”: [Excerpt: Maximilian, “The Twisting Ghost”] That made the Canadian top forty, but Maximilian never became a star in his own right. Shannon, on the other hand, recorded a string of hits, though none were as successful as “Runaway”. The most successful was the follow-up, “Hats off to Larry”, which was very much “Runaway part 2”: [Excerpt: Del Shannon, “Hats off to Larry”] But every single he released after that was slightly less successful than the one before. He soon stopped working with Crook, who remained at the Hi-Lo Club with the rest of the band while Shannon toured the country, and without Crook’s Musitron playing his records were far less interesting than his earliest singles, though he did have the distinction of being one of the few singers of this era to write the bulk of his own material. He managed to further sabotage his career by suing Micahnik and Balk, and by 1963 he was largely washed up, though he did do one more thing that would make him at least a footnote in music history for something other than “Runaway”. He was more popular in the UK than in the US, and he even appeared in the film “It’s Trad Dad!”, a cheap cash-in on the trad jazz craze, starring Helen Shapiro and Craig Douglas as teenagers who try to persuade the stuffy adults who hate the young people’s music that the Dukes of Dixieland, Mr. Acker Bilk and the Temperance Seven are not dangerous obscene noises threatening the morals of the nation’s youth. That film also featured Gene Vincent and Chubby Checker along with a lot of British trumpet players, and was the first feature film made by Richard Lester, who we’ll be hearing more about in this story. So Shannon spent a fair amount of time in the UK, and in 1963 he noticed a song by a new British group that was rising up the UK charts and covered it. His version of “From Me to You” only made number seventy-seven on the US charts, but it was still the first version of a Lennon/McCartney song to make the Hot One Hundred: [Excerpt: Del Shannon, “From Me to You”] He made some interesting records in the rest of the sixties, and had the occasional fluke hit, but the music he was making, a unique blend of hard garage rock and soft white doo-wop, was increasingly out of step with the rest of the industry. In the mid and late sixties, his biggest successes came with songwriting and productions for other artists. He wrote “I Go to Pieces” which became a hit for Peter & Gordon: [Excerpt: Peter and Gordon, “I Go to Pieces”] Produced the band Smith in their cover version of “Baby It’s You”, which made the top five: [Excerpt: Smith, “Baby It’s You”] And produced Brian Hyland’s million-selling version of a Curtis Mayfield song that I’m not going to play, because its title used a racial slur against Romani people which most non-Romani people didn’t then regard as a slur, but which is a great record if you can get past that. That Hyland record featured Crook, reunited briefly with Shannon. But over the seventies Shannon seemed increasingly lost, and while he continued to make records, including some good ones made in the UK with production by Dave Edmunds and Jeff Lynne, he was increasingly unwell with alcoholism. He finally got sober in 1978, and managed to have a fluke hit in 1981 with a cover version of Phil Phillips’ “Sea of Love”, produced by Tom Petty and with Petty’s band the Heartbreakers backing him: [Excerpt: Del Shannon, “Sea of Love”] He also came to people’s attention when a rerecorded version of “Runaway” with new lyrics was used as the theme for the TV show Crime Story. In 1989, Del Shannon was working on a comeback album, with Jeff Lynne producing and members of Tom Petty and the Heartbreakers as backing musicians. The same people had previously worked on Roy Orbison’s last album, which had been his biggest success in decades, and Lynne was gaining a reputation for resuscitating the careers of older musicians. Both Lynne and Petty were fans of Shannon and had worked with him previously, and it seemed likely that he might be able to have a hit with some of the material he was working on. Certainly “Walk Away”, which Shannon co-wrote with Lynne and Petty, sounds like the kind of thing that was getting radio play around that time: [Excerpt: Del Shannon, “Walk Away”] There were even rumours that Lynne and Petty were thinking of inviting Shannon to join the Travelling Wilburys to replace Roy Orbison, though that seems unlikely to me. Unfortunately, by the time the album came out, Shannon was dead. He’d been suffering from depression for decades, and he died of suicide in early 1990, aged fifty-five. His widow later sued the manufacturers of the new wonder drug, Prozac, which he’d been prescribed a couple of weeks earlier, claiming that it caused his death. Max Crook, meanwhile, had become a firefighter and burglar alarm installer, while also pursuing a low-key career in music, mostly making religious music. When Shannon was posthumously inducted into the Rock and Roll Hall of Fame, Crook volunteered to perform at the ceremony, playing his original Musitron, but his offer was ignored. In later years he would regularly show up at annual celebrations of Shannon, and talk about the music they made together, and play for their fans. He died on July the first this year, aged eighty-three.

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Adeline Draait Weer 069

Play Episode Listen Later Jul 3, 2020 59:42

Dit keer zonder dochter MaxMijs omdat zij bezig is af te studeren. Goed moment om lekker oude zooi op te diepen zoals Conny Stuart, Hetty Blok, Mieke Stemerdink, Trafassi, Bo Diddley, Slim Gaillard, Wally Tax en ga zo maar door.

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Matt Grossmann, Paul Birdsong and Slim Gaillard

City Pulse on the Air on Impact 89FM

Play Episode Listen Later Jun 14, 2020 24:58

On this edition of City Pulse On the Air, reporter Cole Tunningley gives us the story of rising Lansing civil rights activist Paul Birdsong, who has been leading daily demonstrations across Lansing and demanding the resignation of Mayor Andy Schor. Editor and publisher Berl Schwartz hosts his weekly conversation with MSU political scientist Matt Grossmann about the 2020 presidential campaign. Tune into City Pulse On the Air every Sunday, 10 a.m., on Impact 89FM.

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The Key To A Lockdown – A Little Swing Music

heresy radio nova slim gaillard

Play Episode Listen Later May 21, 2020 116:24

Guaranteed to get you out of that “lockdown funk” - The Swingin’ With Danny Lane series highlights the music of the swing era and the dances that thrived in the ballrooms and dance halls. Danny Lane guides you through a two hour swing session. Do the Lindy Hop or choose your favorite dance. Just keep swingin'. You’ll hear: 1) Carioca by Artie Shaw & His Orchestra 2) Mr. Zoot Suit by Ingrid Lucia & The Flying Neutrinos 3) Sugar Foot Stomp by Benny Goodman & His Orchestra 4) Drop Me Off in Harlem by Louis Armstrong 5) Little Brown Jug by The American Patrol Orchestra 6) Shoo-Shoo Baby by The Andrews Sisters 7) 9:20 Special by Duke Ellington and His Orchestra 8) Stray Cat Strut by Brian Setzer & The Stray Cats 9) Minor Blues by Django Reinhardt and His Orchestra of The Ox On The Roof 10) Massachusetts by Gene Krupa Band (w/ Anita O'Day, Vocal) 11) Celery Stalks At Midnight by Bradley Band 12) 'Tain't What You Do (It's The Way That You Do It) by Billy May 13) Broadway by Count Basie 14) Alright, Okay, You Win by Bette Midler 15) Hot Lips ("When He Plays Jazz He's Got - Hot Lips") by Henry Busse and the Shuffle Rhythm Band 16) Hey Boy, Hey Girl by Oscar McLollie & Jeanette Baker (w/ The Honey Jumpers) 17) The Flat Foot Floogie by Slim & Slam (Slam Stewart & Slim Gaillard & His Flat Foot Floogie Boys) 18) Swing Lover by Indigo Swing (w/ Johnny Boyd, vocal) 19) C Jam Blues by The Sarasota Jazz Project (w/ Luke Jones, trumpet solo; George McLain, sax; and Rodney Rojas, alto sax) 20) Jackie Robinson (Brooklyn Dodgers) - Radio Call Bob Wolff 21) Here We Go Again by Glenn Miller & His Orchestra 22) A-Tisket A-Tasket by Patti Austin and The WDR Big Band 23) On Green Dolphin Street by Chuck Sagle & His Orchestra 24) Flying Home by Lionel Hampton & His Orchestra [w/ Illinois Jacquet, tenor sax solo] 25) I Can't Give You Anything But Love by Louis Armstrong 26) Oh! Lady Be Good by Count Basie & His Orchestra 27) The Dipsy Doodle by Tommy Dorsey & His Orchestra (w/ Edythe Wright, vocal) 28) In the Groove At the Grove by Chick Webb 29) Bluebirds in the Moonlight by Benny Goodman & His Orchestra (w/ Mildred Bailey, vocal) 30) Bandstand Boogie by Les Elgart And His Orchestra 31) Take The "A" Train by The Delta Rhythm Boys 32) Honeysuckle Rose by Jazz At The Philharmonic Allstars 33) Hey Pachuco! by The Royal Crown Revue 34) Jazzocracy by Jimmie Lunceford 35) When I Get Low I Get High by Ella Fitzgerald & Chick Webb and His Orchestra 36) Rockin' In Rhythm by Duke Ellington 37) Davenport Blues by Adrian Rollini & His Orchestra Join the conversation on Facebook at https://www.facebook.com/profile.php?id=100008232395712 or by email at dannymemorylane@gmail.com

Nova Classic : « Yip Roc Heresy » de Slim Gaillard

Nova Classics

Play Episode Listen Later May 19, 2020 4:56

Radio Nova revisite ses propres classiques : les raretés de tous bords qui rythment notre antenne, de la soul-funk au hip-hop en passant par les musiques afro-latines et la pop. Aujourd'hui : « Yip Roc Heresy » de Slim Gaillard. See acast.com/privacy for privacy and opt-out information.

Harlem On My Mind

Music From 100 Years Ago

Play Episode Listen Later Feb 2, 2020 37:55

Songs include: Harlem On a Saturday Night, Harlem Strut, Drop Me Off In Harlem, I'm Red Hot From Harlem and Harlem On My Mind. Artists include: Duke Ellington, Ethyl Waters. Adelaide Hall, Cab Calloway, Lil Hardin Armstrong, Slim Gaillard and James P. Johnson.

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Vokaltimen, september 2019

Radio Jazz Copenhagen

Play Episode Listen Later Dec 19, 2019 59:59

Da det er 60 år siden, Billie Holiday forlod os, er den sidste halve time en hyldest til sangerinden fra hendes ven og herlige kollega, Carmen McRae (1922-94) i en live optagelse. Inden da er der lidt mere muntert med Slim Gaillard og andre sjældenheder. Det hele præsenteret af Radio Jazz studievært Henrik Wolsgaard-Iversen. Sendt i Radio Jazz i 2019 Der er mere jazz på www.radiojazz.dk

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The Major Scale: 20th Century African-American Art, Pt. 3

Cornell Fine Arts Museum

Play Episode Listen Later Dec 4, 2019 58:00

A special three part presentation of the Major Scale with Cornell Fine Arts Museum’s exhibit, African-American Art in the 20th Century, on loan from the Smithsonian American Art Museum. With a bounty of bold and brilliant masterworks from the likes of Romare Bearden, Lois Mailou Jones, Jacob Lawrence, and more, we're going to tie together the exhibit's themes of Jazz, the Blues, social commentary and civil rights with a look into the music of the era with the show’s curator, Virginia Mecklenburg. Episode 3 - African-American Art in the 20th Century in the Sunshine State. Among the many amazing artists in the exhibit, African-American Art in the 20th Century, is Purvis Young, a native to Florida. Since both Cornell Fine Arts Museum and the Major Scale are based in Central Florida, we thought we'd explore some regional Floridian roots. Young, the term "Outsider Artist," and the legendary Highwaymen are on the table for conversation as well as some of the Sunshine State's musical finest; including Slim Gaillard, Fats Navarro, Charles Tolliver, Gigi Gryce, Pee-Wee Ellis, Archie Shepp, and more.

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Vokaltimen

Radio Jazz Copenhagen

Play Episode Listen Later Oct 27, 2019 58:08

Radio Jazz studievært Henrik Wolsgaard-Iversen præsenterer hovedgæsten, som er Carmen McRae, og som mindes sin ven Billie Holiday live i fin form Og inden da muntre sager med bl. a. Slim Gaillard og String Swing. Sendt i Radio Jazz i 2019 Der er mere jazz på www.radiojazz.dk

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HGRNJ DR&R Show #55

Dangerous R&R Show Podcast

Play Episode Listen Later Oct 4, 2019 57:43

Back with another episode....it's been busy over here at the Jungle Studios....buttoning up the homestead and traveling up north to take care of our bees....yes that's right....Suzi has decided to be a bee keeper and hopefully we'll have some honey next year. The hive already has loads of it but we have to get another hive going in the spring to harvest the one we have. Fingers crossed!*Opening Salvo - The Usual Suspects- Roy Brown w/ the R&R Trio - Hip shakin' baby [Imperial 1958] 45 rpm.....Roy teamed up with his label mates at the time to record this rippin' 45!*Bed: The Rolling Stones - 2120 S. Michigan Ave / the Stones homage to Chess RecordsSet 1: Denials & Citations- Bo Diddley - You don't love me [Checker 1959] LP - Go Bo Diddley.....from Bo's first sessions - Mickey Gilley - I ain't no Bo Diddley [San 1963] 45 rpm .....No he ain't...but a great and unusual b side from Jerry Lee's cousin- Rain Parade - This can't be today [Enigma 1983] LP - Emergency Third Rail Power Trip.....David & Steven Roback with help from future RP frontman: Matt Piucci- Fraternity of Man - Stop me, citate me [ABC 1968] S/T LP.....former FACTORY members w/ help from Lowell George. They morphed into Little Feat*Bed: The Rolling Stones - 2120 S. Michigan Ave Set 2: Tears & Moans- Miracle Workers - Tears [Voxx 1985] LP - Inside Out..... Gerald Mohr's great Portland neo-garage band....get the LP!- Slim Gaillard & Flat Foot Floogie Boys - Swingin' in the key of C [Proper Box 2003]..... recorded in 1938 from the inventor of "McVout"** The Onion Radio News - Unemployed robots- Balls - Fight for my country [Wizard 1971] 45 rpm.....Steve Gibbons, Denny Laine, Trevor Burton w/ Mike Kellie of Spooky Tooth- Art Blakey & the Jazz Messengers - Moanin' [Blue Note 1958] LP - Moanin'.....Killer track and one of my favorites * Bed: The Rolling Stones - 2120 S. MichiganSet 3: Hearts, Moms & Majesty- Cream - Deserted cities of the heart [Atco 1968] LP - Wheels of Fire.....Ginger Baker is in the hospital and seriously ill I'm told..I'd pray for him but he'd prob kill me.- Ellen McIlwaine - Never tell your mother she's out of tune [Polydor 1973] LP - Farther Along.....Love sister Ellen & her slide playing / covering Jack Bruce- Al Kooper & Mike Bloomfield - Holy Modal Majesty [Columbia 1968] LP - Super Session.....A must for any record collection and a game changer at the time. Recorded for $13,000!****Well that's it for this week / stay subscribed and hopefully we'll keep this 3 ring circus going for another year or 2....

97: Harlem Renaissance

Melodic Treks: A Star Trek Music Podcast

Play Episode Listen Later Mar 3, 2019 60:47

The Musical Era of "Far Beyond the Stars." According to the novelization of the episode "Far Beyond the Stars" by Steve Barnes, the episode takes place in 1953. A time of societal unrest, racism was affecting people all over the world. This episode tackles the issue head on, showing us the struggles of Benny Russel, a science-fiction writer whose race is kept hidden from the readers of the pulp magazine that publishes his stories. During this era, several important musical artists including Duke Ellington, Billie Holiday, Count Basie, and Ralph Ellison, as well th epoet Langston Hughes were mentioned as inspirations for Benny. In this episode of Melodic Treks, host Brandon-Shea Mutala is joined by Andy Farber to discuss the music of the early 1950's. We talk about different styles of music, artists that Benny Russel name drops in the episode, the charts, source music, and the score. Chapters Intro (00:00:00) Welcome to Melodic Treks (00:01:01) Keeping up with Andy (00:01:30) The Musical Era of "Far Beyond the Stars" (00:04:50) R&B, Charts, and the Era (00:10:10) "Django" performed by the Modern Jazz Quartet (00:15:25) Dizzy Gillespy and Be Bop and More (00:18:33) "In a Sentimental Mood" performed by Sonny Rollins with the Modern Jazz Quartet (00:23:02) Benny Russell Name Drops (00:25:00) "Miles Ahead" performed by Miles Davis (00:26:38) Racial Issues (00:28:47) "Potato Chips" performed by Slim Gaillard (00:34:29) The Score and Source Cues (00:38:00) "Back to the Future" composed by Dennis McCarthy (00:41:32) The Episode (00:43:43) Finding Andy (00:49:30) Closing (00:56:26) Hosts Brandon-Shea Mutala Guest Andy Farber Production Tony Robinson (Editor) Brandon-Shea Mutala (Producer) C Bryan Jones (Executive Producer) Matthew Rushing (Executive Producer) Ken Tripp (Executive Producer) Norman C. Lao (Associate Producer) Tony Robinson (Associate Producer) Stephen Boyd (Associate Producer) Bobby Tucker (Associate Producer) Richard Marquez (Production Manager) Tony Robinson (Show Art) Brandon-Shea Mutala (Patreon Manager)

HGRNJ Show #19 Aversions, Secrets & Heartaches

Dangerous R&R Show Podcast

Play Episode Listen Later Nov 3, 2018 58:30

Hey hey Brothers & Sisters....This weeks episode starts off with:Gene Vincent & His Blue Caps - Who slapped John?....out of a band called The Virginians a new band was created for Gene Vincent in 1956 with "Galloping" Cliff Gallup on lead guitar....his echo laden 6 string is the bible for thousands of R&R guitarists ever since.Set 1:Traveling to Brisbane, Australia where The Saints hold the mantle of the 1st "punk" band. Formed in 1975 their 1st record pre-dates the Sex Pistols by about 6 months. We just heard "A minor aversion" off of their sophomore LP ETERNALLY YOURS from 1978.Tramline - Somewhere down the line / Island 1968 [A&M in the US]. Covering Little Johnny Taylor's killer 45 from 1963 on Galaxy Records.Paul Revere & the Raiders - Him or Me [What's it gonna be] / Columbia 1967. The Jim Valley / Keith Ellison era of the band. Mark Lindsey is hands down one of the best vocalists of all the 60's bands....based in Oregon.Traveling south from the pacific northwest to San Francisco where the rocks 1st psych bands, The Charlatans made history with their residency at the Red Dog Saloon in Las Vegas. Another reason that the Charlatans' stay at the Red Dog is regarded by critics and historians as significant is that, immediately before their first performance at the club, the band members took LSD. As a result, the Charlatans are sometimes called the first acid rock band, although their sound is not representative of the feedback-drenched, improvisational music that would later come to define the sub-genre. And hey.....Dan Hicks was their drummer.Bed Music: Link Wray - The FuzzSet 2Staying in San Fran where the Jefferson Airplane signed to RCA for $40,000. A bargain by today's standards where mediocrity is rewarded with multi-million dollar contracts. The Airplane on their 1st LP had Signe Anderson on vocals not Grace Slick and their drummer was mega loony Skip Spence who left to form Moby Grape.20 years before the JA were thinking of recording a cat who called himself Slim Gaillard made up his own language and with his trio recorded one of the hippest 78's - Yep Roc Heresy...his made up language was called "Vout"Marvin Gaye checks in with a radio ad for TeenbeatPaul Butterfield Blues Band up next covering Marvin Gaye w/ "One more heartache" a 45 rpm and also the lead track off of "The Resurrection of Pigboy Crabshaw" who everybody who follows the PBBBand knows is the pseudonym of Elvin Bishop who stepped into the "big boy" shoes of the late, great Michael Bloomfield...Moving up the coast to LA where Merrill Fankhauser formed MU with Jeff Cotton. Cotton was in Merrell & The Exiles, then in a band called Blues In A Bottle. He then replaced Ry Cooder in The Magic Band. He was credited as 'Steel appendage' guitarist on Trout Mask Replica. Left the Magic Band circa late 1970 and eventually teamed up again with Merrell (Fankhauser) on the album "Return To Mu". His pseudonym in the Magic Band was Antennae Jimmy Semens. We heard "Brother Lew" off their first offering....MU.Set 3:Dion and the Del Satins - Drip Drop / Columbia 1963. A cover of The Drifters tune done a few years earlier. Dion was the first artist this author took notice of when he was starting to notice the difference between boys and girls...Al Kooper - Something going on / Music Masters 1995. A live recording made at NYC's Bottom Line with some really great musicians including New York guitarist Jimmy Vivino who is the younger brother of local legend: Uncle Floyd.The Onion Radio News- An Applebee's managerThe Peanut Butter Conspiracy - Too Many do / Columbia 1967. A favorite of mine back in the day and still on my turntable these many years later. Guitarist Billy Wolfe kills it! The Pseudo-Realists - The Williams Effect / Oxymoron Records 1983. Used as "bed" music whilst

“Choo Choo Ch’Boogie” by Louis Jordan

Play Episode Listen Later Oct 29, 2018

Welcome to episode four of A History of Rock Music in Five Hundred Songs. Today we’re looking at Louis Jordan and “Choo Choo Ch’Boogie” —-more—- Resources As always, I’ve created a Mixcloud streaming playlist with full versions of all the songs in the episode. Louis Jordan’s music is now in the public domain, so there are many different compilations available, of different levels of quality. This four-CD set is very cheap and has most of the classic tracks on. And here’s a similarly-priced collection of Chick Webb. There aren’t many books on Louis Jordan as an individual, and most of the information here comes from books on other musicians, but this one is probably worth your while if you want to investigate more. And for all the episodes on pre-1954 music, one invaluable source is the book “Before Elvis” by Larry Birnbaum. Transcript We’ve spent a lot of time in 1938 in this podcast, haven’t we? First there was Flying Home, first recorded in 1939, but where we had to talk about events from 1938. Then we had “Roll ‘Em Pete”, recorded in 1938. And “Ida Red”, recorded in 1938. 1938 is apparently the real year zero for rock and roll — whether you come at it from the direction of blues and boogie, or jazz, or country and western music, 1938 ends up being the place where you start. Eighty years ago this year. And 1938 is also the year that one man made his solo debut, and basically put together all the pieces of rock and roll in one place. If you’ve seen the Marx Brothers film A Day At The Races — well, OK, if you’ve not seen A Day At The Races, you really should, because while it’s not the best film the Marx Brothers ever made, it’s still a good Marx Brothers film, and it’ll brighten up your day immensely to watch it, so go and watch that, and then come back and listen to the rest of this. And if you haven’t watched all their earlier films, watch those too. Except The Cocoanuts, you can skip that one. Go on. I can wait. OK, now you’ve definitely seen the Marx Brothers film A Day At The Races, so you’ll remember the dance sequence where Ivie Anderson sings “All God’s Chillun Got Rhythm”, and the amazing dancers in that scene. [Ivy Anderson “All God’s Chillun Got Rhythm”] That’s a dance called the Lindy Hop — you might remember that as the dance the “booglie wooglie piggy” did in a song we excerpted in episode two, it was named after Charles Lindbergh, the famous airman and Nazi sympathiser — and the people dancing it are Whitey’s Lindy Hoppers. And they were responsible for a controversy, on the night of Benny Goodman’s first Carnegie Hall concert — the one we talked about in episode one — that is still talked about in jazz eighty years later. [Chick Webb “Stompin’ At The Savoy”] That’s “Stompin’ at the Savoy” by Chick Webb, one of the most famous swing recordings ever, though it was later recorded by Benny Goodman in an even more fanous version. The Savoy Ballroom was where Whitey’s Lindy Hoppers used to dance — there was an entire corner of the ballroom set off for them, even though the rest of the floor was for the other dancers. The Savoy was where the Lindy Hop was invented, and it was the place to dance, because it was where Chick Webb, the real king of swing played. We’ve seen a few kings of swing so far — Benny Goodman was the person most associated with the name, and he had the name longest. A few people called Bob Wills that, too, though he mostly billed himself as the king of Western swing. But Chick Webb was the person who deserved the title more than anyone else. He was a small man, who’d contracted tuberculosis of the spine as a child, and he’d taken up the drums as a kind of therapy. He’d been playing professionally since he was eleven, and by the time he was thirty he was leading what was, bar none, the best swing band in New York for dancing. People called him the King of Swing before Goodman, and his band was an absolute force of nature when it came to getting people to do the Lindy Hop. Benny Goodman admired Webb’s band enough that he bought the band’s arrangements and used them himself — all of the Goodman band’s biggest crowd-pleasers, at least the ones that weren’t arrangements he’d bought off Fletcher Henderson, he bought from Edgar Sampson, the saxophone player who did most of Webb’s arrangements. Sampson is the one who wrote “Stompin’ at the Savoy”, which we just heard. There was a rivalry there — Goodman’s band was bigger in every sense, but Webb’s band was more popular with those who knew the real deal when they heard it. And in 1937, the Savoy hosted a cutting contest between Webb’s Savoy Orchestra and Goodman’s band. A cutting contest was a tradition that came from the world of stride piano players — the same world that boogie woogie music grew out of. One musician would play his best (and it usually was a “his” — this was a very macho musical world) and then a second would try to top him — playing something faster, or more inventive, or more exciting, often a reworking of the song the first one had played — and then the first would take another turn and try to get better than the second had. They’d keep going, each trying to outdo the other, until a crowd decided that one or the other was the winner. And that 1937 cutting contest was a big event. The Savoy had two bandstands, so they would have one band start as soon as the other one finished, so people could dance all night. Chick Webb’s band set up on one stage, Goodman’s on another. Four thousand dancers crowded the inside of the ballroom, and despite a police cordon outside to keep trouble down, another five thousand people outside tried to hear what was happening. And Chick Webb’s band won, absolutely. Gene Krupa, Goodman’s drummer (one of the true greats of jazz drumming himself) later said “I’ll never forget that night. Webb cut me to ribbons!” And that just was the most famous of many, many cutting contests that Chick Webb’s band won. The only time Chick Webb ever definitely lost a cutting contest was against Duke Ellington, but everyone knew that Chick Webb and Duke Ellington weren’t really trying to do the same kind of thing, and anyway, there’s no shame at all in losing to Duke Ellington. Count Basie, though, was a different matter. He was trying to do the same kind of thing as Chick Webb, and he was doing it well. And on the night of Benny Goodman’s Carnegie Hall concert, Webb and Basie were going to engage in their own cutting contest after hours. For all that the Goodman Carnegie Hall show was important — and it was — the real jazz fans knew that this after-show party was going to be the place to be. Basie had already played the Carnegie hHall show, guesting with Goodman’s band, as had Basie’s tenor sax player Lester Young, but here they were going to get to show off what they could do with their own band. Basie’s band was on top form at that time, with his new vocalists Jimmy Rushing, a great blues shouter, and Billie Holiday, who was just then becoming a star. Chick Webb had a couple of good vocalists too, though — his new teenage singer, Ella Fitzgerald, in particular, was already one of the great singers. [Chick Webb – Ella] And everyone was in the audience. Goodman’s band, Mildred Bailey, Ivie Anderson (who we heard before in that Marx Brothers clip), Red Norvo the vibraphone player, Duke Ellington. Every musician who mattered in the jazz scene was there to see if Basie could beat Chick Webb. And… there was a dispute about it, one which was never really resolved in Webb’s lifetime. Because Webb won — everyone agreed, when it came to a vote of the audience, Webb’s band did win, though it was a fairly close decision. Again, the only band to ever beat Chick Webb was Duke Ellington. But everyone also agreed that Basie’s band had got people dancing more. A lot more. What nobody realised at the time was that Whitey’s Lindy Hoppers had gone on strike. Chick Webb had misheard a discussion between a couple of the dancers about how good the Basie band was going to be that night, assumed that they were saying Basie was going to be better than him, and got into a huff. Webb said “I don’t give a good Goddam what those raggedy Lindy Hoppers think or say. Who needs ’em? As far as I’m concerned they can all go to hell. And their Mammies too.” After this provocation, Whitey issued an ultimatum to his Lindy Hoppers. That night, they were only going to dance to Basie, and not to Webb. So even though most of the audience preferred Webb’s band, every time they played a song all the best dancers, the ones who had an entire quarter or so of the ballroom to themselves to do their most exciting and visual dances, all sat down, and it looked like the Webb band just weren’t exciting the crowd as much as the Basie band. Of course, the Basie band were good that night, as well. When you’ve got the 1938 Count Basie band, with Jimmy Rushing and Billie Holiday singing, you’re going to get a good show. Oh, and they persuaded Duke Ellington to come up and play a piano solo — and then all the band joined in with him, unrehearsed and unprompted. But despite all that, Webb’s band still beat them in the audience vote. That’s how good Webb’s band were, and it’s also how good his two big stars were. One of those stars, Ella Fitzgerald, we’ve already mentioned, but the other one was an alto sax player who also took the male lead vocals – we heard him singing with Ella earlier. This sax player did a lot of the frontman job for Webb’s band and was so important to the band in those years that, allegedly, some people thought he was Chick Webb. That man was Louis Jordan. [Chick Webb I Can’t Dance I Got Ants In My Pants] Louis Jordan was a good sax player, but what he really was was a performer. He was someone who could absolutely sell a song, with wit and humour and a general sense of hipness that could possibly be matched at that time only by Cab Calloway and Slim Gaillard, and Jordan was a better musician than either of them. He was charming, and funny, and tuneful, and good looking, and he knew it. He knew it so well, in fact, that shortly after that show, he started making plans — he thought that he and Ella were the two important ones in the Webb band, and he planned to form his own band, and take her, and much of the rest of the band with him. Webb found out and fired Jordan, and Ella and most of the band remained loyal to Webb. In fact, sadly, Jordan would have had what he wanted sooner rather than later anyway. Chick Webb’s disability had been affecting him more, and he was only continuing to perform because he felt he owed it to his musicians — he would often pass out after a show, literally unable to do anything else. He died, aged thirty-four, in June 1939, and Ella Fitzgerald became the leader of his band, though like many big bands it eventually broke up in the mid-forties. So if Jordan had held on for another few months, he would have had a good chance at being the leader of the Louis Jordan and Ella Fitzgerald band, and history would have been very different. As it was, instead, he formed a much smaller group, the Elks Rendez-vous Band, made up of members of Jesse Stone’s band (you’ll remember him from episode two, he wrote “Shake, Rattle, and Roll”). And on December 20, 1938 — ten days before “Roll ‘Em Pete” — Louis Jordan and his Elks Rendez-vous Band went into the studio for the first time, to record “Honey in the Bee Ball” and “Barnacle Bill the Sailor”. [excerpt of “Honey in the Bee Ball”] Shortly after that, they changed their name to Louis Jordan and his Tympany Five. Before we talk about them more, I want to briefly talk about someone else who worked with Jordan. I want to talk about Milt Gabler. Gabler is someone we’ll be seeing a lot of in this story, and he’s someone who already had an influence on it, but here’s where he becomes important. You see, even before his influence on rock and roll, Gabler had made one important contribution to music. He had started out as the owner of a little record shop, and he had a massive passion for good jazz music — and so did his customers. And many of those customers had wanted to get hold of old records, now out of print. So in 1935 Gabler started his own record label, and licensed those out of print recordings by people like Bix Beiderbecke and Bessie Smith, becoming the owner of the very first ever reissue record label. His labels pioneered things like putting a full list of all the musicians on a record on the label — the kind of thing that real music obsessives cared far more about than executives who only wanted to make money. After he had some success with that, he branched out into making new records, on a new label, Commodore. That would have stayed a minor label, but for one thing. In 1939, one of his regular customers, Billie Holiday, had a problem. She’d been performing a new song which she really wanted to record, but her current label, Columbia, wasn’t interested. That song was too political even for her producer, John Hammond — the man who, you will remember from previous episodes, persuaded Benny Goodman to integrate his band and who put on shows that same year sponsored by the Communist Party. But the song was too political, and too inflammatory, even for him. The song, which became Billie Holiday’s best-known performance, was “Strange Fruit”, and it was about lynching. [insert section of Strange Fruit here]. Billie Holiday could not get her label to put that track out, under any circumstances. But she knew Milt Gabler might do it — he’d been recording several small group tracks with Lester Young, who was Holiday’s colleague and friend in the Basie band. As Gabler was a friend of hers, and as he was politically left-leaning himself, he eventually negotiated a special deal with Columbia, Holiday’s label, that he could produce her for one session and put out a single recording by her, on Commodore. That recording sold over a million copies, and became arguably the most important recording in music history. In December 1999, Time Magazine called it the “song of the century”. And in 2017, when the black singer Rebecca Ferguson was invited to play at Donald Trump’s inauguration, she agreed on one condition — that the song she performed could be “Strange Fruit”. She was disinvited. As a result of “Strange Fruit”‘s success, Milt Gabler was headhunted away from his own label, and became a staff producer at Decca records in 1941. There he was responsible for producing many of the greatest records of the forties — not least that famous Lionel Hampton version of “Flying Home” we looked at towards the end of episode one — and he began a long collaboration with Louis Jordan — remember him? This is a story about Louis Jordan. Jordan’s new band had a sound unlike anything else of the time — Clarence “Gatemouth” Brown later claimed that Jordan had most of the responsibility for the decline of the big bands, saying “He could play just as good and just as loud with five as 17. And it was cheaper.” And while we’ve talked before about a whole raft of economic and social reasons for the decline of the big bands, there was a lot of truth in that statement — while there were sometimes actually as many as seven or eight members of the Tympany Five, the original lineup was just Jordan plus one trumpet, one sax, piano, bass, and drums, and yet their recordings did sound almost as full as many of the bigger bands. The style they were playing in was a style that later became known as “jump band” music, and it was a style that owed a lot to Lionel Hampton’s band, and to Count Basie. This is a style of music that’s based on simple chord changes — usually blues changes. And it’s based on the concept of the riff. We haven’t really talked much about the idea of riffs yet in this series, but they’re absolutely crucial to almost all popular music from the twentieth century. A riff is, in its conception, fairly straight forward. It’s an instrumental phrase that gets repeated over and over. It can act as the backbone to a song, but it can also be the basis for variation and improvisation — when you “riff on” something, you’re coming up with endless variations and permutations of it. Riffs were important in swing music — generally they were a sort of back-and-forth in those. You’d have the saxophones play the riff, and then the trumpets and trombones repeat it after them. But swing wasn’t just about riffs — with a big orchestra, you had to have layers and stuff for all the musicians to do. In jump band music, on the other hand, you strip everything back. The track becomes about the riff, the solos, and the vocal if there is one, and that’s it. You play that riff over the simplest possible changes, you play it to a rhythm that will get everyone dancing — often a boogie rhythm — and you make everything about the energy of the performance. Jordan’s band did that, and they combined it with Jordan’s own unique stage personality. Jordan, remember, had been the male singer in a band whose female singer was Ella Fitzgerald. You don’t keep a job like that very long if you’re not good. Now, Jordan wasn’t good in the same way as Ella was — no-one was good in the same way as Ella Fitzgerald — but what he was very good at was putting personality into his vocals. One thing we haven’t talked much about yet in this series is the way that there was a whole tradition of jive singing which dates back at least to the 1920s and Cab Calloway: [excerpt from “Reefer Man”] Jive singers weren’t usually technically great, but they had personality. They were hip, and they often used made up words of their own. They were clever, and funny, and sophisticated, and they were often singing about the underworld or drug use or prostitution or other such disreputable concepts — when they weren’t just singing nonsense words like Slim Gaillard anyway. [Excerpt of “Flat Foot Floogie”] And Louis Jordan was very much in the mould of singers like Gaillard or Calloway or Fats Waller, all of whom we could easily do episodes on here if we were going far enough back into rock’s prehistory. But Jordan is the way that that stream became part of the rhythm of rock music. Most of Jordan’s songs were written by Jordan himself, although he’s not the credited writer on many of them — rather, his then-wife, Fleecie Moore, is credited for contractual reasons. Jordan and Moore later split up after multiple separate occasions where she stabbed him, but she retained credit on the songs. So, for example, she’s credited on “Caldonia”, which is a perfect example of Jordan’s comedy jump band style. [Louis Jordan: Caldonia] “Choo Choo Ch’Boogie,” Jordan’s biggest hit, was slightly different. From early 1943 — just after Gabler started producing his records — Jordan had been having occasional crossover hits on the country charts. These days, his music sounds to us clearly like it’s blues or R&B — in fact he’s basically the archetype of a jump blues musician — but remember how we’ve talked about Western Swing using so many swing and boogie elements? If you were making boogie music then, you were likely to appeal to the same audience that was listening to Bob Wills, just as much as you were to the audience that was listening to Big Joe Turner. And because of this crossover success, Jordan started recording occasional songs that were originally aimed at the white country market. “Choo Choo Ch’Boogie” was co-written by Gabler, but the other songwriters were pure country and western writers — Denver Darling, one of the writers, was a hillbilly singer who recorded songs such as “My Little Buckaroo”, “I’ve Just Gotta Be A Cowboy” and “Ding Dong Polka”, while the other writer, Vaughn Horton, wrote “Dixie Cannonball” and “Muleskinner Blues”. So “Choo Choo Ch’ Boogie” was, in conception, a hillbilly boogie, but in Louis Jordan’s hands, it was almost the archetypal rhythm and blues song: [insert section of Choo Choo Ch’Boogie here] You can hear from that how much it resembles the Bob Wills music we heard last week — and how the song itself would fit absolutely into the genre of Western Swing. There’s only really the lack of a fiddle or steel guitar to distinguish the styles. But you can also hear the horn-driven pulse, and the hip vocals, that characterise rhythm and blues. Those internal rhymes and slangy lyrics — “take me right back to the track, Jack” — come straight from the jive school of vocals, even though it’s a country and western song. If there’s any truth at all to the claim that rock and roll was the mixing of country and western music with rhythm and blues, this is as good a point as any to say “this is where rock and roll really started”. Essentially every musician in the early rock and roll period was, to a greater or lesser extent, copying the style of Louis Jordan’s 1940s records. And indeed “Choo Choo Ch’ Boogie” was later covered by another act Milt Gabler produced — an act who, more than any other, based their style on Jordan’s. But we’ll come to Bill Haley and his Comets in a few episodes time. For now, we want to listen to the way that jump band music sounds. This is not music that sounds like it’s a small band. That sounds like a full horn section, but you’ll notice that during the sax solo the other horns just punch in a little, rather than playing a full pad under it — the arrangement is stripped back to the basics, to what’s necessary. This is a punchy track, and it’s a track that makes you want to dance. [sax solo excerpt] And this is music that, because it’s so stripped down, relies on vocal personality more than other kinds. This is why Louis Jordan was able to make a success of this — his jive singing style gives the music all the character that in the larger bands would be conveyed by other instruments. But also, notice the lyrics — “the rhythm of the clickety clack”. It’s that backbeat again, the one we’ve been talking about. And the lyrics here are all about that rhythm, but also about the rhythm of the steam trains. That mechanical steam train rhythm is one of the key influences in blues, rhythm and blues, and rock and roll — rock and roll started at almost exactly the point that America changed from being a train culture to being a car culture, and over the coming weeks we’ll see that transition happen in the music. By the 1960s people would be singing “Nobody cares about the railroads any more” or about “the last of the good old fashioned steam powered trains”, but in the 1940s and early fifties the train still meant freedom, still meant escape, and even once that had vanished from people’s minds, it was still enshrined in the chug of the backbeat, in the choo choo ch’boogie. And so next week we’ll be talking a lot more about the impact of trains in rock and roll, as we take our final look at the Carnegie Hall concerts of 1938… Patreon As always, this podcast only exists because of the donations of my backers on Patreon. If you enjoy it, why not join them?

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"Choo Choo Ch'Boogie" by Louis Jordan

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Play Episode Listen Later Oct 29, 2018 29:36

Welcome to episode four of A History of Rock Music in Five Hundred Songs. Today we're looking at Louis Jordan and "Choo Choo Ch'Boogie" ----more---- Resources As always, I've created a Mixcloud streaming playlist with full versions of all the songs in the episode. Louis Jordan's music is now in the public domain, so there are many different compilations available, of different levels of quality. This four-CD set is very cheap and has most of the classic tracks on. And here's a similarly-priced collection of Chick Webb. There aren't many books on Louis Jordan as an individual, and most of the information here comes from books on other musicians, but this one is probably worth your while if you want to investigate more. And for all the episodes on pre-1954 music, one invaluable source is the book "Before Elvis" by Larry Birnbaum. Transcript We've spent a lot of time in 1938 in this podcast, haven't we? First there was Flying Home, first recorded in 1939, but where we had to talk about events from 1938. Then we had "Roll 'Em Pete", recorded in 1938. And "Ida Red", recorded in 1938. 1938 is apparently the real year zero for rock and roll -- whether you come at it from the direction of blues and boogie, or jazz, or country and western music, 1938 ends up being the place where you start. Eighty years ago this year. And 1938 is also the year that one man made his solo debut, and basically put together all the pieces of rock and roll in one place. If you've seen the Marx Brothers film A Day At The Races -- well, OK, if you've not seen A Day At The Races, you really should, because while it's not the best film the Marx Brothers ever made, it's still a good Marx Brothers film, and it'll brighten up your day immensely to watch it, so go and watch that, and then come back and listen to the rest of this. And if you haven't watched all their earlier films, watch those too. Except The Cocoanuts, you can skip that one. Go on. I can wait. OK, now you've definitely seen the Marx Brothers film A Day At The Races, so you'll remember the dance sequence where Ivie Anderson sings "All God's Chillun Got Rhythm", and the amazing dancers in that scene. [Ivy Anderson "All God's Chillun Got Rhythm"] That's a dance called the Lindy Hop -- you might remember that as the dance the "booglie wooglie piggy" did in a song we excerpted in episode two, it was named after Charles Lindbergh, the famous airman and Nazi sympathiser -- and the people dancing it are Whitey's Lindy Hoppers. And they were responsible for a controversy, on the night of Benny Goodman's first Carnegie Hall concert -- the one we talked about in episode one -- that is still talked about in jazz eighty years later. [Chick Webb "Stompin' At The Savoy"] That's "Stompin' at the Savoy" by Chick Webb, one of the most famous swing recordings ever, though it was later recorded by Benny Goodman in an even more fanous version. The Savoy Ballroom was where Whitey's Lindy Hoppers used to dance -- there was an entire corner of the ballroom set off for them, even though the rest of the floor was for the other dancers. The Savoy was where the Lindy Hop was invented, and it was the place to dance, because it was where Chick Webb, the real king of swing played. We've seen a few kings of swing so far -- Benny Goodman was the person most associated with the name, and he had the name longest. A few people called Bob Wills that, too, though he mostly billed himself as the king of Western swing. But Chick Webb was the person who deserved the title more than anyone else. He was a small man, who'd contracted tuberculosis of the spine as a child, and he'd taken up the drums as a kind of therapy. He'd been playing professionally since he was eleven, and by the time he was thirty he was leading what was, bar none, the best swing band in New York for dancing. People called him the King of Swing before Goodman, and his band was an absolute force of nature when it came to getting people to do the Lindy Hop. Benny Goodman admired Webb's band enough that he bought the band's arrangements and used them himself -- all of the Goodman band's biggest crowd-pleasers, at least the ones that weren't arrangements he'd bought off Fletcher Henderson, he bought from Edgar Sampson, the saxophone player who did most of Webb's arrangements. Sampson is the one who wrote "Stompin' at the Savoy", which we just heard. There was a rivalry there -- Goodman's band was bigger in every sense, but Webb's band was more popular with those who knew the real deal when they heard it. And in 1937, the Savoy hosted a cutting contest between Webb's Savoy Orchestra and Goodman's band. A cutting contest was a tradition that came from the world of stride piano players -- the same world that boogie woogie music grew out of. One musician would play his best (and it usually was a "his" -- this was a very macho musical world) and then a second would try to top him -- playing something faster, or more inventive, or more exciting, often a reworking of the song the first one had played -- and then the first would take another turn and try to get better than the second had. They'd keep going, each trying to outdo the other, until a crowd decided that one or the other was the winner. And that 1937 cutting contest was a big event. The Savoy had two bandstands, so they would have one band start as soon as the other one finished, so people could dance all night. Chick Webb's band set up on one stage, Goodman's on another. Four thousand dancers crowded the inside of the ballroom, and despite a police cordon outside to keep trouble down, another five thousand people outside tried to hear what was happening. And Chick Webb's band won, absolutely. Gene Krupa, Goodman's drummer (one of the true greats of jazz drumming himself) later said "I'll never forget that night. Webb cut me to ribbons!" And that just was the most famous of many, many cutting contests that Chick Webb's band won. The only time Chick Webb ever definitely lost a cutting contest was against Duke Ellington, but everyone knew that Chick Webb and Duke Ellington weren't really trying to do the same kind of thing, and anyway, there's no shame at all in losing to Duke Ellington. Count Basie, though, was a different matter. He was trying to do the same kind of thing as Chick Webb, and he was doing it well. And on the night of Benny Goodman's Carnegie Hall concert, Webb and Basie were going to engage in their own cutting contest after hours. For all that the Goodman Carnegie Hall show was important -- and it was -- the real jazz fans knew that this after-show party was going to be the place to be. Basie had already played the Carnegie hHall show, guesting with Goodman's band, as had Basie's tenor sax player Lester Young, but here they were going to get to show off what they could do with their own band. Basie's band was on top form at that time, with his new vocalists Jimmy Rushing, a great blues shouter, and Billie Holiday, who was just then becoming a star. Chick Webb had a couple of good vocalists too, though -- his new teenage singer, Ella Fitzgerald, in particular, was already one of the great singers. [Chick Webb – Ella] And everyone was in the audience. Goodman's band, Mildred Bailey, Ivie Anderson (who we heard before in that Marx Brothers clip), Red Norvo the vibraphone player, Duke Ellington. Every musician who mattered in the jazz scene was there to see if Basie could beat Chick Webb. And… there was a dispute about it, one which was never really resolved in Webb's lifetime. Because Webb won -- everyone agreed, when it came to a vote of the audience, Webb's band did win, though it was a fairly close decision. Again, the only band to ever beat Chick Webb was Duke Ellington. But everyone also agreed that Basie's band had got people dancing more. A lot more. What nobody realised at the time was that Whitey's Lindy Hoppers had gone on strike. Chick Webb had misheard a discussion between a couple of the dancers about how good the Basie band was going to be that night, assumed that they were saying Basie was going to be better than him, and got into a huff. Webb said "I don't give a good Goddam what those raggedy Lindy Hoppers think or say. Who needs 'em? As far as I'm concerned they can all go to hell. And their Mammies too." After this provocation, Whitey issued an ultimatum to his Lindy Hoppers. That night, they were only going to dance to Basie, and not to Webb. So even though most of the audience preferred Webb's band, every time they played a song all the best dancers, the ones who had an entire quarter or so of the ballroom to themselves to do their most exciting and visual dances, all sat down, and it looked like the Webb band just weren't exciting the crowd as much as the Basie band. Of course, the Basie band were good that night, as well. When you've got the 1938 Count Basie band, with Jimmy Rushing and Billie Holiday singing, you're going to get a good show. Oh, and they persuaded Duke Ellington to come up and play a piano solo -- and then all the band joined in with him, unrehearsed and unprompted. But despite all that, Webb's band still beat them in the audience vote. That's how good Webb's band were, and it's also how good his two big stars were. One of those stars, Ella Fitzgerald, we've already mentioned, but the other one was an alto sax player who also took the male lead vocals – we heard him singing with Ella earlier. This sax player did a lot of the frontman job for Webb's band and was so important to the band in those years that, allegedly, some people thought he was Chick Webb. That man was Louis Jordan. [Chick Webb I Can't Dance I Got Ants In My Pants] Louis Jordan was a good sax player, but what he really was was a performer. He was someone who could absolutely sell a song, with wit and humour and a general sense of hipness that could possibly be matched at that time only by Cab Calloway and Slim Gaillard, and Jordan was a better musician than either of them. He was charming, and funny, and tuneful, and good looking, and he knew it. He knew it so well, in fact, that shortly after that show, he started making plans -- he thought that he and Ella were the two important ones in the Webb band, and he planned to form his own band, and take her, and much of the rest of the band with him. Webb found out and fired Jordan, and Ella and most of the band remained loyal to Webb. In fact, sadly, Jordan would have had what he wanted sooner rather than later anyway. Chick Webb's disability had been affecting him more, and he was only continuing to perform because he felt he owed it to his musicians -- he would often pass out after a show, literally unable to do anything else. He died, aged thirty-four, in June 1939, and Ella Fitzgerald became the leader of his band, though like many big bands it eventually broke up in the mid-forties. So if Jordan had held on for another few months, he would have had a good chance at being the leader of the Louis Jordan and Ella Fitzgerald band, and history would have been very different. As it was, instead, he formed a much smaller group, the Elks Rendez-vous Band, made up of members of Jesse Stone's band (you'll remember him from episode two, he wrote "Shake, Rattle, and Roll"). And on December 20, 1938 -- ten days before "Roll 'Em Pete" -- Louis Jordan and his Elks Rendez-vous Band went into the studio for the first time, to record "Honey in the Bee Ball" and "Barnacle Bill the Sailor". [excerpt of "Honey in the Bee Ball"] Shortly after that, they changed their name to Louis Jordan and his Tympany Five. Before we talk about them more, I want to briefly talk about someone else who worked with Jordan. I want to talk about Milt Gabler. Gabler is someone we'll be seeing a lot of in this story, and he's someone who already had an influence on it, but here's where he becomes important. You see, even before his influence on rock and roll, Gabler had made one important contribution to music. He had started out as the owner of a little record shop, and he had a massive passion for good jazz music -- and so did his customers. And many of those customers had wanted to get hold of old records, now out of print. So in 1935 Gabler started his own record label, and licensed those out of print recordings by people like Bix Beiderbecke and Bessie Smith, becoming the owner of the very first ever reissue record label. His labels pioneered things like putting a full list of all the musicians on a record on the label -- the kind of thing that real music obsessives cared far more about than executives who only wanted to make money. After he had some success with that, he branched out into making new records, on a new label, Commodore. That would have stayed a minor label, but for one thing. In 1939, one of his regular customers, Billie Holiday, had a problem. She'd been performing a new song which she really wanted to record, but her current label, Columbia, wasn't interested. That song was too political even for her producer, John Hammond -- the man who, you will remember from previous episodes, persuaded Benny Goodman to integrate his band and who put on shows that same year sponsored by the Communist Party. But the song was too political, and too inflammatory, even for him. The song, which became Billie Holiday's best-known performance, was "Strange Fruit", and it was about lynching. [insert section of Strange Fruit here]. Billie Holiday could not get her label to put that track out, under any circumstances. But she knew Milt Gabler might do it -- he'd been recording several small group tracks with Lester Young, who was Holiday's colleague and friend in the Basie band. As Gabler was a friend of hers, and as he was politically left-leaning himself, he eventually negotiated a special deal with Columbia, Holiday's label, that he could produce her for one session and put out a single recording by her, on Commodore. That recording sold over a million copies, and became arguably the most important recording in music history. In December 1999, Time Magazine called it the "song of the century". And in 2017, when the black singer Rebecca Ferguson was invited to play at Donald Trump's inauguration, she agreed on one condition -- that the song she performed could be "Strange Fruit". She was disinvited. As a result of "Strange Fruit"'s success, Milt Gabler was headhunted away from his own label, and became a staff producer at Decca records in 1941. There he was responsible for producing many of the greatest records of the forties -- not least that famous Lionel Hampton version of "Flying Home" we looked at towards the end of episode one -- and he began a long collaboration with Louis Jordan -- remember him? This is a story about Louis Jordan. Jordan's new band had a sound unlike anything else of the time -- Clarence "Gatemouth" Brown later claimed that Jordan had most of the responsibility for the decline of the big bands, saying "He could play just as good and just as loud with five as 17. And it was cheaper." And while we've talked before about a whole raft of economic and social reasons for the decline of the big bands, there was a lot of truth in that statement -- while there were sometimes actually as many as seven or eight members of the Tympany Five, the original lineup was just Jordan plus one trumpet, one sax, piano, bass, and drums, and yet their recordings did sound almost as full as many of the bigger bands. The style they were playing in was a style that later became known as "jump band" music, and it was a style that owed a lot to Lionel Hampton's band, and to Count Basie. This is a style of music that's based on simple chord changes -- usually blues changes. And it's based on the concept of the riff. We haven't really talked much about the idea of riffs yet in this series, but they're absolutely crucial to almost all popular music from the twentieth century. A riff is, in its conception, fairly straight forward. It's an instrumental phrase that gets repeated over and over. It can act as the backbone to a song, but it can also be the basis for variation and improvisation -- when you "riff on" something, you're coming up with endless variations and permutations of it. Riffs were important in swing music -- generally they were a sort of back-and-forth in those. You'd have the saxophones play the riff, and then the trumpets and trombones repeat it after them. But swing wasn't just about riffs -- with a big orchestra, you had to have layers and stuff for all the musicians to do. In jump band music, on the other hand, you strip everything back. The track becomes about the riff, the solos, and the vocal if there is one, and that's it. You play that riff over the simplest possible changes, you play it to a rhythm that will get everyone dancing -- often a boogie rhythm -- and you make everything about the energy of the performance. Jordan's band did that, and they combined it with Jordan's own unique stage personality. Jordan, remember, had been the male singer in a band whose female singer was Ella Fitzgerald. You don't keep a job like that very long if you're not good. Now, Jordan wasn't good in the same way as Ella was -- no-one was good in the same way as Ella Fitzgerald -- but what he was very good at was putting personality into his vocals. One thing we haven't talked much about yet in this series is the way that there was a whole tradition of jive singing which dates back at least to the 1920s and Cab Calloway: [excerpt from "Reefer Man"] Jive singers weren't usually technically great, but they had personality. They were hip, and they often used made up words of their own. They were clever, and funny, and sophisticated, and they were often singing about the underworld or drug use or prostitution or other such disreputable concepts -- when they weren't just singing nonsense words like Slim Gaillard anyway. [Excerpt of "Flat Foot Floogie"] And Louis Jordan was very much in the mould of singers like Gaillard or Calloway or Fats Waller, all of whom we could easily do episodes on here if we were going far enough back into rock's prehistory. But Jordan is the way that that stream became part of the rhythm of rock music. Most of Jordan's songs were written by Jordan himself, although he's not the credited writer on many of them -- rather, his then-wife, Fleecie Moore, is credited for contractual reasons. Jordan and Moore later split up after multiple separate occasions where she stabbed him, but she retained credit on the songs. So, for example, she's credited on "Caldonia", which is a perfect example of Jordan's comedy jump band style. [Louis Jordan: Caldonia] "Choo Choo Ch'Boogie," Jordan's biggest hit, was slightly different. From early 1943 -- just after Gabler started producing his records -- Jordan had been having occasional crossover hits on the country charts. These days, his music sounds to us clearly like it's blues or R&B -- in fact he's basically the archetype of a jump blues musician -- but remember how we've talked about Western Swing using so many swing and boogie elements? If you were making boogie music then, you were likely to appeal to the same audience that was listening to Bob Wills, just as much as you were to the audience that was listening to Big Joe Turner. And because of this crossover success, Jordan started recording occasional songs that were originally aimed at the white country market. "Choo Choo Ch'Boogie" was co-written by Gabler, but the other songwriters were pure country and western writers -- Denver Darling, one of the writers, was a hillbilly singer who recorded songs such as "My Little Buckaroo", "I've Just Gotta Be A Cowboy" and "Ding Dong Polka", while the other writer, Vaughn Horton, wrote "Dixie Cannonball" and "Muleskinner Blues". So "Choo Choo Ch' Boogie" was, in conception, a hillbilly boogie, but in Louis Jordan's hands, it was almost the archetypal rhythm and blues song: [insert section of Choo Choo Ch'Boogie here] You can hear from that how much it resembles the Bob Wills music we heard last week -- and how the song itself would fit absolutely into the genre of Western Swing. There's only really the lack of a fiddle or steel guitar to distinguish the styles. But you can also hear the horn-driven pulse, and the hip vocals, that characterise rhythm and blues. Those internal rhymes and slangy lyrics -- "take me right back to the track, Jack" -- come straight from the jive school of vocals, even though it's a country and western song. If there's any truth at all to the claim that rock and roll was the mixing of country and western music with rhythm and blues, this is as good a point as any to say "this is where rock and roll really started". Essentially every musician in the early rock and roll period was, to a greater or lesser extent, copying the style of Louis Jordan's 1940s records. And indeed "Choo Choo Ch' Boogie" was later covered by another act Milt Gabler produced -- an act who, more than any other, based their style on Jordan's. But we'll come to Bill Haley and his Comets in a few episodes time. For now, we want to listen to the way that jump band music sounds. This is not music that sounds like it's a small band. That sounds like a full horn section, but you'll notice that during the sax solo the other horns just punch in a little, rather than playing a full pad under it -- the arrangement is stripped back to the basics, to what's necessary. This is a punchy track, and it's a track that makes you want to dance. [sax solo excerpt] And this is music that, because it's so stripped down, relies on vocal personality more than other kinds. This is why Louis Jordan was able to make a success of this -- his jive singing style gives the music all the character that in the larger bands would be conveyed by other instruments. But also, notice the lyrics -- "the rhythm of the clickety clack". It's that backbeat again, the one we've been talking about. And the lyrics here are all about that rhythm, but also about the rhythm of the steam trains. That mechanical steam train rhythm is one of the key influences in blues, rhythm and blues, and rock and roll -- rock and roll started at almost exactly the point that America changed from being a train culture to being a car culture, and over the coming weeks we'll see that transition happen in the music. By the 1960s people would be singing "Nobody cares about the railroads any more" or about "the last of the good old fashioned steam powered trains", but in the 1940s and early fifties the train still meant freedom, still meant escape, and even once that had vanished from people's minds, it was still enshrined in the chug of the backbeat, in the choo choo ch'boogie. And so next week we'll be talking a lot more about the impact of trains in rock and roll, as we take our final look at the Carnegie Hall concerts of 1938… Patreon As always, this podcast only exists because of the donations of my backers on Patreon. If you enjoy it, why not join them?

Episode 28: Atomic Alcohol

Super Critical Podcast

Play Episode Listen Later Aug 19, 2018 149:20

In this episode, we stepped up to the bar and ordered a couple rounds of Atomic Alcohol. The podcast collected ten examples of nuclear themed wine, cocktails, and beer with names, history, or other interesting connections to nukes. Why do breweries and wineries go to the nuclear well so many times? Could a beverage change how you think about the atom? How many drinks can the podcast team have and still sound reasonably intelligent? Tim Westmyer, Gabe, and special guests Will Saetren (@WillSaetren) and Eric Gascho (@EricGascho) answer these questions and more. Before the bartender announces last call for atomic alcohol, we recommend checking out: -Alex Wellerstein, “Beer and the Apocalypse,” Restricted Data, 2012 -Frank Kelly Rich, “Boozing with the Bomb: Alcohol in the Atomic Age,” Drunkard Magazine -Charlie Papazian, The Complete Joy of Homebrewing Special thanks to: -Tori Mason at Forbidden Root for the cans of Atomic Child -Tony Fitzpatrick and Robert Finkel at Forbidden Root for the interview -@VortexAeroMedia for sending the bottles of Atom Splitter -William Henry at Nuclear Wine, Chris Kotiza at Nuclear Nugget, and Steve at Cit of Cambridge Brewing for answering my questions about their beer -Outro music by Slim Gaillard and His Quartette (1945 Check out our website, SuperCriticalPodcast.com, for more resources and related items. We aim to have at least one new episode every month. Let us know what you think about the podcast and any ideas you may have about future episodes and guests by reaching out at on Twitter @NuclearPodcast, GooglePlay, SoundCloud, TuneIn, Stitcher Radio, Facebook, SuperCriticalPodcast@gmail.com, and YouTube. Enjoy!

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#4 What's The Word?

HooBaLunGa (a weird Rock'n'Roll podcast)

Play Episode Listen Later Jul 31, 2017 60:01

This episode the Crazy Rock'n'Roll podcast includes weird shit by Spike Jones, Slim Gaillard, Chris Casello & The Sabres, The Trashmen, The Rivingtons, Fleetwood Mac, Johnny Paycheck and Batmobile.

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Headliner of State: Gerald Ford

The Other Side

Play Episode Listen Later Jan 2, 2017 45:38

Tragedy brought Gerald Ford to the White House ... but did humor help define his presidency? Our excellent expert is Ron Nessen, an accomplished journalist who served as Ford's press secretary. Ron talks about Ford's character and his sense of what was "needed" from the president in the post-Watergate era. And we also chat about Ron's special place in comedy history, as the first political figure to host an episode of "Saturday Night Live." It's an interesting look at an underappreciated president ... enjoy! Ron's SNL episode on Hulu Ron's books on Amazon.com MUSIC: Hail Columbia, "Michigander Blues" by Jabbo Smith's Rhythym Aces, "Nightmare Boogie" by Slim Gaillard and His Boogiereeners

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@Phoole & the Gang | Show 66 | @IdealClubWorld Radio | 27 September 2014

Play Episode Listen Later Jun 23, 2015 116:43

Tracklist/Song List/Tune List: 1. Ideal ClubWorld Radio –Intro 2. Labtracks – Robotic Love (Lenno Remix) 3. Kabiri – Seventeen (Original Mix) 4. Mario Chris – Pump Up The House (Original Mix) 5. Yelle – Complètement fou 6. Richard Grey – Yay Yay (Original) 7. Bart & Baker – Troublesome Trumpet (Murder on the Blue Notes) [KeX Edit] 8. DJ Meetch – Cosmic Boogie (Original Mix) 9. Ash Carr – Shimmer (Saxstrumental) 10. Skeewiff – Watermelon Man 11. Bart & Baker – Communication (Kex Radio Edit) [feat. Slim Gaillard] 12. The Young Punx – Kowloon Kickback 13. Parliament – Flash Light (Slynk Remix) 14. A.Skillz & Nick Thayer – Drop the Funk 15. Olivier P-C – My Love 16. Francis Red – Jeeves & Wooster Theme (Edit) 17. Greg Stainer – Control (Original Mix) 18. Boss Axis – Continental (Original Mix) 19. Jackie – Phresh (Joey Chicago Mix) 20. #RSHBSS – You Got it (Original Mix) 21. Emma Jai & Pippi Ciez – Angels Whisper (Original Mix) 22. Caravan Palace – Dramophone 23. Harry Belafonte – Angelina 24. Ideal ClubWorld Radio – VanD Funkicide Advert 25. Dr. Teeth & The Electric Mayhem – Can You Picture That? 26. Harry Belafonte – Jump In The Line (We Like Turtles - Señoras que bailan calypso - Edit) 27. The Young Punx – Kowloon Kickback (Gramophonedzie Mix) 28. Coach Z – These Peoples Try To Fade Me Stephen Fry admits to secretly enjoying Electro Swing and Swing House, so Phoole tries to get him to tune in! And…PUPPETS! Phoole & the Gang is mad chatter, genre-scatter, and tunes that matter, as delivered to you weekly LIVE from Milwaukee, Wisconsin, USA, home of "Happy Days" and the Bronze Fonz! Tune in for two hours of turbofunkin' disco-breakin' block-rockin' beats every Friday from 7-9pm USA Central time / Saturday 1-3am UK time at player.idealclubworld.com! Show info: bit.ly/IdealPhoole Past show videos on demand: bit.ly/PhooleVids (SUBSCRIBE while you're there) Past show audios: bit.ly/PhooleCasts and bit.ly/PhooleAudioArchive twitter.com/phoole facebook.com/DJPhoole mixcloud.com/phoole Buy the tunes! Support the artists! Buy their music here: www.discogs.com www.junodownload.com www.traxsource.com www.beatport.com www.itunes.com

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@Phoole & the Gang | Show 70 | @IdealClubWorld Radio | 8 November 2014

Play Episode Listen Later Jun 23, 2015 121:19

Tracklist/Song List/Tune List: 1. Ideal ClubWorld Radio – 2014 Ideal Intro 2. Bart & Baker – Troublesome Trumpet (Murder on the Blue Notes) [KeX Edit] 3. Parov Stelar Vs. Will Smith – Gettin' Jiggy with the Booty Swing (KeX's Ghetto Swing Edit) 4. Bart & Baker – Communication (KeX Radio Edit) [feat. Slim Gaillard] 5. Dutty Moonshine – Fancy a Tipple (feat. Mr. B the Gentleman Rhymer) 6. FPM – If you Do, I Do 7. Ideal ClubWorld Radio – Weekend Alarm Clock Advert 8. Bobby Tank – Glass Moon 9. The Young Punx! – Heart Of The Night 10. Prince, Him&Hurr – Wanna Be Your Lover (Original Mix) 11. Katrin Souza – Rainbow (Moussa Clarke & Wilson Costa Remix) 12. Caribou – Can't Do Without You (Lenno Remix) 13. Tom Petty – Learning To Fly (Christopher Adolfo Remix) 14. Netsky – Puppy 15. The Young Punx – All These Things Are Gone (Lenno Vocal Mix) 16. Allen Walker – Addicted to the Bassline (Speech Version) 17. Information Society – Peace And Love, Inc. 18. Angry Kids – Wouldn't It Be Good (ft. Nik Kershaw) (Angry Kids Radio Edit) 19. The Young Punx – Polaroid (Featuring Darktown Jubilee) 20. The Young Punx – A Million Stars 21. Simon Panrucker – Fruit Salad 22. DJ Groove & Audio Girls – Gangsta Boogie (Norbert Meszes Remix) 23. Sonikross feat Sara K – She's in The House (Nick Hook & Martin Sharp Club Mix) 24. Alan de Laniere – FHH 25. MR. GONZO – Soul (Original Mix) 26. OlivrX – The Limit (Original Mix) 27. Strong Bad – Everybody To The Limit (Live) 28. Alt-J – Hunger Of The Pine (The Penelopes Remix) MBTC gets decked out in steampunk style as we toast attendees at TeslaCon with a swinghouse set right off the bat, followed by tasty house delights! The kitties visit! And the Cheat is overwhelmed! Phoole & the Gang is mad chatter, genre-scatter, and tunes that matter, as delivered to you weekly LIVE from Milwaukee, Wisconsin, USA, home of "Happy Days" and the Bronze Fonz! Tune in for two hours of turbofunkin' disco-breakin' block-rockin' beats every Friday from 7-9pm USA Central time / Saturday 1-3am UK time at player.idealclubworld.com! Show info: bit.ly/IdealPhoole Past show videos on demand: bit.ly/PhooleVids (SUBSCRIBE while you're there) Past show audios: bit.ly/PhooleCasts and bit.ly/PhooleAudioArchive twitter.com/phoole facebook.com/DJPhoole mixcloud.com/phoole Buy the tunes! Support the artists! Buy their music here: www.discogs.com www.junodownload.com www.traxsource.com www.beatport.com www.itunes.com

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@Phoole & the Gang | Show 66 | @IdealClubWorld Radio | 27 September 2014

Play Episode Listen Later Jun 23, 2015 116:43

Tracklist/Song List/Tune List: 1. Ideal ClubWorld Radio –Intro 2. Labtracks – Robotic Love (Lenno Remix) 3. Kabiri – Seventeen (Original Mix) 4. Mario Chris – Pump Up The House (Original Mix) 5. Yelle – Complètement fou 6. Richard Grey – Yay Yay (Original) 7. Bart & Baker – Troublesome Trumpet (Murder on the Blue Notes) [KeX Edit] 8. DJ Meetch – Cosmic Boogie (Original Mix) 9. Ash Carr – Shimmer (Saxstrumental) 10. Skeewiff – Watermelon Man 11. Bart & Baker – Communication (Kex Radio Edit) [feat. Slim Gaillard] 12. The Young Punx – Kowloon Kickback 13. Parliament – Flash Light (Slynk Remix) 14. A.Skillz & Nick Thayer – Drop the Funk 15. Olivier P-C – My Love 16. Francis Red – Jeeves & Wooster Theme (Edit) 17. Greg Stainer – Control (Original Mix) 18. Boss Axis – Continental (Original Mix) 19. Jackie – Phresh (Joey Chicago Mix) 20. #RSHBSS – You Got it (Original Mix) 21. Emma Jai & Pippi Ciez – Angels Whisper (Original Mix) 22. Caravan Palace – Dramophone 23. Harry Belafonte – Angelina 24. Ideal ClubWorld Radio – VanD Funkicide Advert 25. Dr. Teeth & The Electric Mayhem – Can You Picture That? 26. Harry Belafonte – Jump In The Line (We Like Turtles - Señoras que bailan calypso - Edit) 27. The Young Punx – Kowloon Kickback (Gramophonedzie Mix) 28. Coach Z – These Peoples Try To Fade Me Stephen Fry admits to secretly enjoying Electro Swing and Swing House, so Phoole tries to get him to tune in! And…PUPPETS! Phoole & the Gang is mad chatter, genre-scatter, and tunes that matter, as delivered to you weekly LIVE from Milwaukee, Wisconsin, USA, home of "Happy Days" and the Bronze Fonz! Tune in for two hours of turbofunkin' disco-breakin' block-rockin' beats every Friday from 7-9pm USA Central time / Saturday 1-3am UK time at player.idealclubworld.com! Show info: bit.ly/IdealPhoole Past show videos on demand: bit.ly/PhooleVids (SUBSCRIBE while you're there) Past show audios: bit.ly/PhooleCasts and bit.ly/PhooleAudioArchive twitter.com/phoole facebook.com/DJPhoole mixcloud.com/phoole Buy the tunes! Support the artists! Buy their music here: www.discogs.com www.junodownload.com www.traxsource.com www.beatport.com www.itunes.com

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@Phoole & the Gang | Show 68 | @IdealClubWorld Radio | 24 October 2014

Play Episode Listen Later Jun 23, 2015 132:59

@Phoole & the Gang | Show 68 | @IdealClubWorld Radio | 24 October 2014 Tracklist/Song List/Tune List: 1. Ideal ClubWorld Radio – 2014 Ideal Intro 2. Jennifer Hudson – It's Your World (Kreap's NY Groove Mix) 3. Kreap – Cmon Babeh....... Samich 4. DJ Meetch – Cosmic Boogie (Original Mix) 5. DJ Schrammel – Again (Original Mix) 6. Parov Stelar Vs. Will Smith – Gettin' Jiggy with the Booty Swing (KeX's Ghetto Swing Edit) 7. Bart & Baker – Communication (Kex Radio Edit) [feat. Slim Gaillard] 8. Stereocool – Earth, Wind & Fire - You Are a Winner ('A Winner is U' Remix) 9. Featurecast – Shining Star (Earth Wind & Fire) 10. Rory HOY – Party On This Side (SkeewiffAss Disco Party remix) 11. Prole – Neuroplasticity (Original) 12. Prince, Him&Hurr – Wanna Be Your Lover (Original Mix) 13. REZarin – Find You (Original Mix) 14. Allen Walker – Solanin 15. Alan de Laniere – FHH 16. MR. GONZO – Soul (Original Mix) 17. Mr.B The Gentleman Selector – Your Love 18. Ideal ClubWorld Radio – VanD Funkicide Advert 19. Bee Gees – Stayin' Alive (Stereocool 'To the Death' Remix) 20. Grover Washington Jr – Just The Two Of Us (Father Funk Remix) 21. Slynk – Dance Across The Bass 22. Fragile Signal – Tears (COEO Remix) 23. QuestionmarQ feat. Kilian Pettit – Floating Away (Present Mix) 24. Birdee – La Musique (Blende Remix) 25. DJ Groove & Audio Girls – Gangsta Boogie (Norbert Meszes Remix) 26. #RSHBSS – You Got it (Original Mix) 27. The Young Punx – Supersonic (Louis La Roche Mix) 28. Yelle – Complètement fou 29. The Young Punx – All These Things Are Gone (Radio Edit) - 2B - 128 - House 30. Joseph Fischer Feat. Simon Latham – Ordinary Girl (John Gibbons Remix) 31. Father Funk & Slamboree – The Mighty Boosh - Love Games (Father Funk & Slamboree Remix) You remember this show, because you were there. EVERYONE WAS THERE. Relive the absurdity and excellent tunes. Old friends and new Phooligans collide at the best beats per minute! And: LOVE GAMES. Phoole & the Gang is mad chatter, genre-scatter, and tunes that matter, as delivered to you weekly LIVE from Milwaukee, Wisconsin, USA, home of "Happy Days" and the Bronze Fonz! Tune in for two hours of turbofunkin' disco-breakin' block-rockin' beats every Friday from 7-9pm USA Central time / Saturday 1-3am UK time at player.idealclubworld.com! Show info: bit.ly/IdealPhoole Past show videos on demand: bit.ly/PhooleVids (SUBSCRIBE while you're there) Past show audios: bit.ly/PhooleCasts and bit.ly/PhooleAudioArchive twitter.com/phoole facebook.com/DJPhoole mixcloud.com/phoole Buy the tunes! Support the artists! Buy their music here: www.discogs.com www.junodownload.com www.traxsource.com www.beatport.com www.itunes.com

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@Phoole & the Gang | Show 70 | @IdealClubWorld Radio | 8 November 2014

Play Episode Listen Later Jun 23, 2015 121:19

Tracklist/Song List/Tune List: 1. Ideal ClubWorld Radio – 2014 Ideal Intro 2. Bart & Baker – Troublesome Trumpet (Murder on the Blue Notes) [KeX Edit] 3. Parov Stelar Vs. Will Smith – Gettin' Jiggy with the Booty Swing (KeX's Ghetto Swing Edit) 4. Bart & Baker – Communication (KeX Radio Edit) [feat. Slim Gaillard] 5. Dutty Moonshine – Fancy a Tipple (feat. Mr. B the Gentleman Rhymer) 6. FPM – If you Do, I Do 7. Ideal ClubWorld Radio – Weekend Alarm Clock Advert 8. Bobby Tank – Glass Moon 9. The Young Punx! – Heart Of The Night 10. Prince, Him&Hurr – Wanna Be Your Lover (Original Mix) 11. Katrin Souza – Rainbow (Moussa Clarke & Wilson Costa Remix) 12. Caribou – Can't Do Without You (Lenno Remix) 13. Tom Petty – Learning To Fly (Christopher Adolfo Remix) 14. Netsky – Puppy 15. The Young Punx – All These Things Are Gone (Lenno Vocal Mix) 16. Allen Walker – Addicted to the Bassline (Speech Version) 17. Information Society – Peace And Love, Inc. 18. Angry Kids – Wouldn't It Be Good (ft. Nik Kershaw) (Angry Kids Radio Edit) 19. The Young Punx – Polaroid (Featuring Darktown Jubilee) 20. The Young Punx – A Million Stars 21. Simon Panrucker – Fruit Salad 22. DJ Groove & Audio Girls – Gangsta Boogie (Norbert Meszes Remix) 23. Sonikross feat Sara K – She's in The House (Nick Hook & Martin Sharp Club Mix) 24. Alan de Laniere – FHH 25. MR. GONZO – Soul (Original Mix) 26. OlivrX – The Limit (Original Mix) 27. Strong Bad – Everybody To The Limit (Live) 28. Alt-J – Hunger Of The Pine (The Penelopes Remix) MBTC gets decked out in steampunk style as we toast attendees at TeslaCon with a swinghouse set right off the bat, followed by tasty house delights! The kitties visit! And the Cheat is overwhelmed! Phoole & the Gang is mad chatter, genre-scatter, and tunes that matter, as delivered to you weekly LIVE from Milwaukee, Wisconsin, USA, home of "Happy Days" and the Bronze Fonz! Tune in for two hours of turbofunkin' disco-breakin' block-rockin' beats every Friday from 7-9pm USA Central time / Saturday 1-3am UK time at player.idealclubworld.com! Show info: bit.ly/IdealPhoole Past show videos on demand: bit.ly/PhooleVids (SUBSCRIBE while you're there) Past show audios: bit.ly/PhooleCasts and bit.ly/PhooleAudioArchive twitter.com/phoole facebook.com/DJPhoole mixcloud.com/phoole Buy the tunes! Support the artists! Buy their music here: www.discogs.com www.junodownload.com www.traxsource.com www.beatport.com www.itunes.com

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@Phoole & the Gang | Show 72 | @IdealClubWorld Radio | 22 November 2014

Play Episode Listen Later Jun 23, 2015 124:06

Tracklist/Song List/Tune List: 1. Intro 2. The Young Punx! – Kowloon Kickback 3. Caravan Palace – Jolie Coquine 4. Gentlemen Callers – Faux Culs 5. Louis Armstrong – Cuban Pete (Pep's Show Boys, S.Rö & Russo Remix) 6. Caravan Palace – Panic 7. Gramophonedzie – Why Don't You - Original Mix 8. Caravan Palace – Dramophone 9. Joey Negro, Gramophonedzie, Shea Soul – No Sugar (Club Mix) 10. Bart & Baker – Troublesome Trumpet (Murder on the Blue Notes) [KeX Edit] 11. Parov Stelar Vs. Will Smith – Gettin' Jiggy with the Booty Swing (KeX's Ghetto Swing Edit) 12. Taco – Puttin’ On The Ritz (Club Remix) 13. Bart & Baker – Communication (Kex Radio Edit) [feat. Slim Gaillard] 14. Ideal ClubWorld Radio – VanD Funkicide Advert 15. Count Jackula – Breakfast (The Supermen Lovers Remix) 16. Bart & Baker – Second Look (The Supermen Lovers Remix) [feat. Lada Redstar & Landser] 17. Spiller – Urastar (The Supermen Lovers Remix) [feat. Nina Miranda] 18. Thomas Gandey – That's the Trouble (Original Mix) 19. Sonic Matta Ft. Ayak – To be Loved (Original Club Mix) 20. Situation – Robot (The Supermen Lovers Remix) 21. The Young Punx – Young and Beautiful 22. Birdee – Tornera' Il Sole 23. Chris York – Would You Dare (Original) 24. Sonikross feat Sara K – She's in The House (Nick Hook & Martin Sharp Vocal Remix) 25. Mr Gonzo – Cheeky Boom (Original) 26. KuDeTa - You're the One ft Elesha Moses 27. Mat Playford – ISON (Original Mix) 28. Information Society – Beautiful World (Featuring Gerald V. Casale) An hour of swinghouse delights celebrating the release of Alyson Grauer’s debut novel ON THE ISLE OF SOUND AND WONDER plus housealicious treats galore! Aly learns that her name means ‘storms’ in German, and her book is about a storm, so she is therefore MADE OF STORMS. The Story of the Crouton that Tasted Like An Action Figure is told! Phoole & the Gang is mad chatter, genre-scatter, and tunes that matter, as delivered to you weekly LIVE from Milwaukee, Wisconsin, USA, home of "Happy Days" and the Bronze Fonz! Tune in for two hours of turbofunkin' disco-breakin' block-rockin' beats every Friday from 7-9pm USA Central time / Saturday 1-3am UK time at player.idealclubworld.com! Show info: bit.ly/IdealPhoole Past show videos on demand: bit.ly/PhooleVids (SUBSCRIBE while you're there) Past show audios: bit.ly/PhooleCasts and bit.ly/PhooleAudioArchive twitter.com/phoole facebook.com/DJPhoole mixcloud.com/phoole Buy the tunes! Support the artists! Buy their music here: www.discogs.com www.junodownload.com www.traxsource.com www.beatport.com www.itunes.com

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@Phoole and the Gang | Show 100 | 2 Years on @IdealClubWorld Radio | 21 June 2015

Play Episode Listen Later Jun 23, 2015 240:35

@Phoole and the Gang | Show 100 | @IdealClubWorld Radio | 21 June 2015 Video animations and loops by Switzon S. Wigfall III (https://vimeo.com/channels/sswlll),beeple (https://vimeo.com/channels/beeple ) and more! Tracklist/Song List/Tune List: 1. Ideal ClubWorld Radio – 2014 Ideal Intro 2. Sesame Street – Twelve - Skeewiff's Combo Breaker Remix 3. The Johnny Fresh Experience – Amame 4. The Knocks & Fred Falke – Geronimo (Lenno Remix) 5. Alex Kafer – Bubble Gum (Dub Mix) 6. Kreap – BumBumBumBum (Original Mix) 7. Bart & Baker – Communication (Kex Radio Edit) [feat. Slim Gaillard] 8. The Young Punx – Hideaway (De'lacy VS The Young Punx) 9. Skeewiff & Laurie Johnson – Shopping On Acid 10. Count Jackula – Breakfast (The Supermen Lovers Remix) 11. Steve Mac – Find Your Funk (Original) 12. Mr Gonzo – Cheeky Boom (Original) 13. Nick Hook – Just For One Day (Original Mix) 14. Alan de Laniere – Save ur soul (Original Mix) 15. pHaZe Project ft. ELI – Love Brings Us Back Together (FakeFunk Remix) 16. DJ Schrammel – Dj-Schrammel-I-Love-You-More.mp3 17. Yelle – Complètement fou 18. Azealia Banks – Chasing Time (Kreap's NY Hustle Mix) 19. Stereo Jones – Dinosaur Hands 20. Wax Worx – Bad Ass (Booty) 21. Japan Aircraft – I Love My Disco Tits (Original Mix) 22. Parov Stelar Vs. Will Smith – Gettin' Jiggy with the Booty Swing (KeX's Ghetto Swing Edit) 23. Joey Negro, Gramophonedzie, Shea Soul – No Sugar (Kreap Double Disco Hammer Mix) 24. Pharrell – Happy (Rocoe & Musicarus Remix) 25. Mark Ronson & Bruno Mars – Uptown Funk (Musicarus Edit) 26. Skeewiff Feat Dan Hewson – Hey Charles! Do The Wob. 27. Mr. B the Gentleman Rhymer – Monty's Acid 28. Solidisco – Choose 29. The Young Punx – Supersonic (Louis La Roche Mix) 30. Patrick Wayne – 8th Of October 31. Freemasons ft SOLAH – True Love Survivor (2015 Future Classic Club Mix) 32. The Sloppy 5th's – Sizzle Face 33. Gramophonedzie, Maat Bandy – Bitches Know (Radio Edit) 34. Raff, Ali Jamieson – Coffee Stain (feat. Raff) (Black Magic Disco Remix) 35. Alex Kenji – Chordz (Original Mix) 36. Chunk-A-Bud – Moon Over Bourbon St (Original Mix) 37. Gentlemen Callers – Faux Culs 38. Msystem feat. Fossi Figo – Five for Benza 39. Madeon – Zephyr 40. Boney M vs. Reset! – We Are Rasputin (Nesh Mashup) 41. Musicarus – Night 'N' Day 42. Fake Blood – Fix Your Accent (Original Mix) PN 43. W.H.A.T.A.M.I – Jaded (Original) 44. The Young Punx – Rockall (Phonat Mix) 45. LENNO – The Best ft. Dragonette 46. Information Society – The Prize 47. Bart and Baker – Black Coffee 48. DJ Schrammel – Walking 49. Gaspar – Spooky (Original Mix) - 9A - 128 - Disco House 50. The Supermen Lovers – We Got That Booty (feat. AntOnin) [Reset! Remix] 51. Information Society – A Knife and a Fork 52. The Young Punx! – Detonate 53. The Young Punx – You You You Phoole & the Gang celebrates Show #100 – and 2 years on Ideal ClubWorld Radio! 4 hour show! SWEET CUPPIN’ CAKES! Phoole & the Gang is two hours of turbofunkin' disco-breakin' block-rockin' beats every Friday from 7-9pm USA Central time at player.idealclubworld.com! Show info: bit.ly/IdealPhoole Past show videos on demand: vimeo.com/channels/phoole and bit.ly/PhooleVids Past show audios: bit.ly/PhooleCasts and bit.ly/PhooleAudioArchive twitter.com/phoole facebook.com/DJPhoole mixcloud.com/phoole Buy the tunes! Support the artists! Buy their music here: www.discogs.com www.junodownload.com www.traxsource.com www.beatport.com www.itunes.com

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@Phoole & the Gang | Show 68 | @IdealClubWorld Radio | 24 October 2014

Play Episode Listen Later Jun 23, 2015 132:59

@Phoole & the Gang | Show 68 | @IdealClubWorld Radio | 24 October 2014 Tracklist/Song List/Tune List: 1. Ideal ClubWorld Radio – 2014 Ideal Intro 2. Jennifer Hudson – It's Your World (Kreap's NY Groove Mix) 3. Kreap – Cmon Babeh....... Samich 4. DJ Meetch – Cosmic Boogie (Original Mix) 5. DJ Schrammel – Again (Original Mix) 6. Parov Stelar Vs. Will Smith – Gettin' Jiggy with the Booty Swing (KeX's Ghetto Swing Edit) 7. Bart & Baker – Communication (Kex Radio Edit) [feat. Slim Gaillard] 8. Stereocool – Earth, Wind & Fire - You Are a Winner ('A Winner is U' Remix) 9. Featurecast – Shining Star (Earth Wind & Fire) 10. Rory HOY – Party On This Side (SkeewiffAss Disco Party remix) 11. Prole – Neuroplasticity (Original) 12. Prince, Him&Hurr – Wanna Be Your Lover (Original Mix) 13. REZarin – Find You (Original Mix) 14. Allen Walker – Solanin 15. Alan de Laniere – FHH 16. MR. GONZO – Soul (Original Mix) 17. Mr.B The Gentleman Selector – Your Love 18. Ideal ClubWorld Radio – VanD Funkicide Advert 19. Bee Gees – Stayin' Alive (Stereocool 'To the Death' Remix) 20. Grover Washington Jr – Just The Two Of Us (Father Funk Remix) 21. Slynk – Dance Across The Bass 22. Fragile Signal – Tears (COEO Remix) 23. QuestionmarQ feat. Kilian Pettit – Floating Away (Present Mix) 24. Birdee – La Musique (Blende Remix) 25. DJ Groove & Audio Girls – Gangsta Boogie (Norbert Meszes Remix) 26. #RSHBSS – You Got it (Original Mix) 27. The Young Punx – Supersonic (Louis La Roche Mix) 28. Yelle – Complètement fou 29. The Young Punx – All These Things Are Gone (Radio Edit) - 2B - 128 - House 30. Joseph Fischer Feat. Simon Latham – Ordinary Girl (John Gibbons Remix) 31. Father Funk & Slamboree – The Mighty Boosh - Love Games (Father Funk & Slamboree Remix) You remember this show, because you were there. EVERYONE WAS THERE. Relive the absurdity and excellent tunes. Old friends and new Phooligans collide at the best beats per minute! And: LOVE GAMES. Phoole & the Gang is mad chatter, genre-scatter, and tunes that matter, as delivered to you weekly LIVE from Milwaukee, Wisconsin, USA, home of "Happy Days" and the Bronze Fonz! Tune in for two hours of turbofunkin' disco-breakin' block-rockin' beats every Friday from 7-9pm USA Central time / Saturday 1-3am UK time at player.idealclubworld.com! Show info: bit.ly/IdealPhoole Past show videos on demand: bit.ly/PhooleVids (SUBSCRIBE while you're there) Past show audios: bit.ly/PhooleCasts and bit.ly/PhooleAudioArchive twitter.com/phoole facebook.com/DJPhoole mixcloud.com/phoole Buy the tunes! Support the artists! Buy their music here: www.discogs.com www.junodownload.com www.traxsource.com www.beatport.com www.itunes.com

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@Phoole & the Gang | Show 72 | @IdealClubWorld Radio | 22 November 2014

Play Episode Listen Later Jun 22, 2015 124:06

Tracklist/Song List/Tune List: 1. Intro 2. The Young Punx! – Kowloon Kickback 3. Caravan Palace – Jolie Coquine 4. Gentlemen Callers – Faux Culs 5. Louis Armstrong – Cuban Pete (Pep's Show Boys, S.Rö & Russo Remix) 6. Caravan Palace – Panic 7. Gramophonedzie – Why Don't You - Original Mix 8. Caravan Palace – Dramophone 9. Joey Negro, Gramophonedzie, Shea Soul – No Sugar (Club Mix) 10. Bart & Baker – Troublesome Trumpet (Murder on the Blue Notes) [KeX Edit] 11. Parov Stelar Vs. Will Smith – Gettin' Jiggy with the Booty Swing (KeX's Ghetto Swing Edit) 12. Taco – Puttin’ On The Ritz (Club Remix) 13. Bart & Baker – Communication (Kex Radio Edit) [feat. Slim Gaillard] 14. Ideal ClubWorld Radio – VanD Funkicide Advert 15. Count Jackula – Breakfast (The Supermen Lovers Remix) 16. Bart & Baker – Second Look (The Supermen Lovers Remix) [feat. Lada Redstar & Landser] 17. Spiller – Urastar (The Supermen Lovers Remix) [feat. Nina Miranda] 18. Thomas Gandey – That's the Trouble (Original Mix) 19. Sonic Matta Ft. Ayak – To be Loved (Original Club Mix) 20. Situation – Robot (The Supermen Lovers Remix) 21. The Young Punx – Young and Beautiful 22. Birdee – Tornera' Il Sole 23. Chris York – Would You Dare (Original) 24. Sonikross feat Sara K – She's in The House (Nick Hook & Martin Sharp Vocal Remix) 25. Mr Gonzo – Cheeky Boom (Original) 26. KuDeTa - You're the One ft Elesha Moses 27. Mat Playford – ISON (Original Mix) 28. Information Society – Beautiful World (Featuring Gerald V. Casale) An hour of swinghouse delights celebrating the release of Alyson Grauer’s debut novel ON THE ISLE OF SOUND AND WONDER plus housealicious treats galore! Aly learns that her name means ‘storms’ in German, and her book is about a storm, so she is therefore MADE OF STORMS. The Story of the Crouton that Tasted Like An Action Figure is told! Phoole & the Gang is mad chatter, genre-scatter, and tunes that matter, as delivered to you weekly LIVE from Milwaukee, Wisconsin, USA, home of "Happy Days" and the Bronze Fonz! Tune in for two hours of turbofunkin' disco-breakin' block-rockin' beats every Friday from 7-9pm USA Central time / Saturday 1-3am UK time at player.idealclubworld.com! Show info: bit.ly/IdealPhoole Past show videos on demand: bit.ly/PhooleVids (SUBSCRIBE while you're there) Past show audios: bit.ly/PhooleCasts and bit.ly/PhooleAudioArchive twitter.com/phoole facebook.com/DJPhoole mixcloud.com/phoole Buy the tunes! Support the artists! Buy their music here: www.discogs.com www.junodownload.com www.traxsource.com www.beatport.com www.itunes.com

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@Phoole and the Gang | Show 100 | 2 Years on @IdealClubWorld Radio | 21 June 2015