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2 episodes with who put
2 episodes with who put
2 episodes with who put
Who Put the GLAD in GLADIATOR? Get bonus content on Patreon! See acast.com/privacy for privacy and opt-out information.
Beastie Boys "Jimmy James"The Black Crowes "God's Got It"Ranie Burnette "Miss Mabelle"Bonnie Raitt "Everybody's Cryin' Mercy"Bessie Smith "Backwater Blues"James McMurtry "I'm Not From Here"Bo Diddley "Cops and Robbers"Johnny Horton "First Train Headin' South"Drag the River "Losing Everyone"Junior Brown "Sugarfoot Rag"Elizabeth Cotten "Vastopol"Cindy Cashdollar "That's No Way for Me to Get Along"Hezekiah & The House Rockers "I'm Gonna Move To The Outskirts Of Town"Eilen Jewell "I'm Gonna Dress In Black"Pretenders "Mystery Achievement"Dinosaur Jr. "Keeblin'"Beastie Boys "Gratitude"Howlin' Wolf "Drinkin' C.V. Wine"Harry "The Hipster" Gibson "Who Put the Benzedrine In Mrs Murphy's Ovaltine"Elvis Costello & The Attractions "Beaten To the Punch"Lula Reed "Watch Dog"George Jones "Who Shot Sam"Maria Muldaur/Alvin Youngblood Hart "I'm Goin' Back Home"Floyd Dixon "Hey Bartender"Bessie Smith "St. Louis Blues"Andrew Bird;Jimbo Mathus "Poor Lost Souls"Tuba Skinny "Banjoreno"Ray Wylie Hubbard "Redneck Mother"Slim & Slam "Flat Fleet Floogie"Asie Payton "Back To The Bridge"Pete "Guitar" Lewis "Ooh Midnight"Billy Bragg;Wilco "Ingrid Bergman"The White Stripes "Take, Take, Take"Neil Young "Pocahontas"The Lonesome Doves "Love Letters"Bob Dylan "Tough Mama"Bessie Smith "Hard Driving Papa"Beastie Boys "Pass the Mic"Superchunk "Sick to Move"Buddy Guy "Outskirts of Town"Spiritualaires of Columbia "Lay This Body Down"fIREHOSE "Walking The Cow"Fisk Jubilee Singers "Nobody Knows The Trouble I See"Valerie June "You And I"Beastie Boys "Namaste"Waylon Jennings "Taos, New Mexico"
The patrons have commandeered NGI yet again! They were hot for some VGM rock shuffles, so by god, they're gonna get some VGM rock shuffles! PLAYLIST: 0:00 - WillRock - Nitroglycerin Injection (Theme of KNGI :: Bandcamp) 1:13 - Prince uf Darkness - Hot For Rock Shuffles (part 2): Big Snapple’s 3AM Pizza Bender (Teenage Mutant Ninja Turtles: Turtles in Time [ARC] :: Dwelling of Duels) 9:57 - Chuck E. Myers, Lance Lenhart, Tom Hopkins - Blackwater Falls (Jet Moto [PS1] :: Archive.org) 13:00 - Deiselc1, Hashel05 - Shuffle or Boogie (Final Fantasy VIII [PS1] :: Pixel Mixers) 16:50 - Kyle Richards, Tom Wedge - Canyon Adventure (Monster Truck Madness [PC] :: Archive.org) 22:05 - Juan Medrano - Pickin' Out the Fleas (Donkey Kong Country 2: Diddy's Kong Quest [SNES] :: OverClocked ReMix) 26:17 - Mutherpluckin' B - Take Me To The Top, Man! (Mega Man 3 [NES] :: Artist website) 31:06 - Grospixels - Dire, Dire Docks (Super Mario 64 [N64] :: Bandcamp) 40:02 - Washudoll - Duh, Who Put the Lights Out?! (Teenage Mutant Ninja Turtles: The Hyperstone Heist [GEN] :: OverClocked ReMix) 43:45 - GaMetal, insaneintherainmusic - Hydro City (Sonic the Hedgehog 3 [GEN] :: Bandcamp) 47:27 - Tom Wedge - Scrapyard Run (Monster Truck Madness 2 [PC] :: Archive.org) 54:38 - Chuck E. Myers, Lance Lenhart, Tom Hopkins - Cyburb Slide (Twisted Metal [PS1] :: VGMdb) 57:42 - Jun Senoue - Be Cool, Be Wild and Be Groovy [S.A.M.E. version (2016)] (Sonic Adventure 2 [DC] :: VGMdb) 1:04:51prozax, Ailsean & JAXX - Unikwak (Uniracers [SNES] :: VGMix Archive) 1:10:01 - Shinobu Amayake, Yoshiyuki Ito, Akira Hoshi - TITLE ~ AQUA TUNNEL (Stunt Race FX [SNES] :: VGMdb) 1:15:41 - Midee - Cleaning Out Axis (Batman [NES] :: Dwelling of Duels) 1:19:17 - George "The Fat Man" Sanger, Team Fat - The Fastest Sport (NASCAR Racing [PC] :: Archive.org) SOURCE TUNE SPECTRUM: "Slam Shuffle" from Final Fantasy VI [SNES] 1:30:34 - Kain White, Lord Bif Music, Hashel, Josh Nielsen - Slam Shuffle (Pixel Mixers) 1:33:10 - Ese - Slam Shuffle (VGMdb) 1:38:05 - Sam Griffin - SLAM SHUFFLE on CLASSICAL GUITAR (YouTube) 1:40:00 - Random Encounter - Slam Shuffle (Bandcamp) 1:47:26 - Shinray - Stage 1 Theme (Teenage Mutant Ninja Turtles [NES] :: YouTube) 1:50:22 - Peter Nielsen - Funky The Main Monkey (Donkey Kong Country 2: Diddy's Kong Quest [SNES] :: YouTube) 1:52:31 - Joe Satriani - Let's Roll (NASCAR 06: Total Team Control [PS2/XBOX] :: VGMdb) 1:57:42 - Ergosonic - Runnin' with the Shredder (Teenage Mutant Ninja Turtles IV: Turtles in Time [SNES] :: OverClocked ReMix) 2:01:15 - Xoc - Moon Patrol [in the style of Jimi Hendrix] (Moon Patrol [ARC] :: Bandcamp) 2:06:24 - Uncle & the Bacon - Cruis’n Shuffle (Cruis’n World [N64] :: Patient Corgi) 2:13:39 - Teresa James - Yankee Rose (Rumble Roses [PS2] :: VGMdb) 2:17:32 - Henry Salvia, Kathleen Salvia - Brick by Brick [Remastered] (LEGO Island [PC] :: Project Island)
In January 2021, a mysterious monolith appeared on the banks of the Trinity River in Fort Worth. Who Put it there? Hawkeye and Michelle confess to placing it there earlier in the week Support the show: http://www.newcountry963.com/hawkeyeinthemorning See omnystudio.com/listener for privacy information.
Not that a pandemic is new in our history. Nor the emergence of many disasters at once an odd occurrence. War, plague, poverty, draught, fires, floods, and revolution, are nothing new. However, the American experience has had relative comfort in most areas of our country, allowing a standard of comfort and convenience not known in previous centuries. Read the full article at https://pastorresources.com/what-pastors-should-know-about-stress/ About the author: A veteran social worker, award-winning author Linda Wood Rondeau resides in Hagerstown, MD with her husband of over forty years and where she is active in her local church. Watch for the author’s newest releasee, Who Put the Vinegar in the Salt, anticipated in November 2020. Readers may sign up for the newsletter and announcement of actual release on the author’s website: www.lindarondeau.com. Readers may also follow the author on Facebook, Twitter, or Instagram.
Hosts Snarfdude and Daffodil bring you Cheezy Music, on the road in a van in a 30 min version of the show in series 2.0 The show is still in production as of this writing. Details at www.cheezepleeze.com PLAYLIST FOR THIS SHOW: A Cheeze Pleeze Christmas 2014-Show 1 of 4 Who Put the Gum In Santa’s ....This item has files of the following types: Archive BitTorrent, Columbia Peaks, Item Tile, Metadata, PNG, Spectrogram, VBR MP3
Celtic women singers today on the Irish & Celtic Music Podcast Seasons, The Selkie Girls, Lissa Schneckenburger, Jessica Victoria, Celtic Woman, Ciunas, Claire Roche, SeaStar, Tami Curits, Altan, Kellswater Bridge, Jiggy, Muireann Nic Amhlaoibh I hope you enjoyed this week's show. If you did, please share the show with ONE friend. The Irish & Celtic Music Podcast is here to build our community and help the incredible artists who so generously share their music with you. If you hear music you love, buy the albums, shirts, and songbooks, follow the artists on Spotify, see their shows, and drop them an email to let them know you heard them on the Irish and Celtic Music Podcast. Remember also to Subscribe to the Celtic Music Magazine. Every week, you will get a few cool bits of Celtic music news. It's a quick and easy way to plug yourself into more great Celtic culture. Plus, you'll get 34 Celtic MP3s for Free, just for signing up today. VOTE IN THE CELTIC TOP 20 This is our way of finding the best songs and artists each year. Just list the show number, and the name of as many bands in the episode as you like. Your vote helps me create next year's Best Celtic music of 2020 episode. Vote Now! THIS WEEK IN CELTIC MUSIC 0:05 - "Lighthouse Keeper's Daughter" by Seasons from Seasons 4:55 - WELCOME 6:09 - "Bleecker Street" by The Selkie Girls from Running with the Morrigan 9:33 - "Young Charlotte" by Lissa Schneckenburger from Song 15:38 - "Mouth Music Medley: Far am bi mi fhìn / Chuirinn air a' Phìob e" by Jessica Victoria from Songs of the Summer Realm 17:27 - "Moorlough Shore" by Celtic Woman from Ancient Land Deluxe 21:28 - CELTIC FEEDBACK 26:37 - "Madam I'm a Darling" by Ciunas from High Time Pronunciation: Queue-nas 29:09 - "The Planter's Daughter" by Claire Roche from The Lilt Of The Banshee 33:23 - "The Quiet Joys of Brotherhood" by SeaStar from Sinners and Angels 37:21 - CELTIC PODCAST NEWS 38:41 - "Frisky Whisky" by Tami Curits from Cairde Cavort 43:17 - "Níon a’ Bhaoigheallaigh" by Altan from The Gap of Dreams Pronunciation: Neen a V-way-gal-ig 49:28 - "Keys to the Castle" by Kellswater Bridge from The Proof is in the Pudding 53:55 - "Who Put the Blood" by Jiggy from Hypernova 58:49 - CLOSING 1:00:42 - "I Courted a Soldier" by Muireann Nic Amhlaoibh from Foxglove & Fuschia Pronunciation: Murr-en Nick OWL-eev The Irish & Celtic Music Podcast was edited by Mitchell Petersen with Graphics by Miranda Nelson Designs. The show was produced by Marc Gunn, The Celtfather. To subscribe, go to Apple Podcasts or to our website where you can become a Patron of the Podcast for as little as $1 per episode. Promote Celtic culture through music at http://celticmusicpodcast.com/. #celticpodcast #celticmusic #celticwomen WELCOME TO CELTIC MUSIC * Helping you celebrate Celtic culture through music. My name is Marc Gunn. I am a Celtic musician and podcaster. This show is dedicated to the indie Celtic musicians. Please support these artists. Share the show with your friends. And find more episodes at celticmusicpodcast.com. You can also support this podcast on Patreon. CELTIC PODCAST NEWS THANK YOU PATRONS OF THE PODCAST! Because of Your kind and generous support, this show comes out every week. Your generosity funds the creation, promotion and production of the show. It allows us to attract new listeners and to help our community grow. As a patron, you get to hear episodes before regular listeners. When we hit a milestone, you get an extra-long episode. You can pledge a dollar or more per episode and cap how much you want to spend each month over on Patreon. Your contribution also allows us to support the Middle Tennessee Highland Games & Celtic Festival on September 12-13 and the Texas Scottish Festival on October 16-18. A super special thanks to our Celtic Legends: Shawn Cali, Annie Lorkowski, Hank Woodward, Kevin Long, robert michael kane, Scott Benson, Miranda Nelson, Carol Baril, Nancie Barnett, Marianne Ludwig, Lynda MacNeil, Tiffany Knight, Patricia Conner, and our newest Celtic Legend, Samir Malak You can become a generous Patron of the Podcast on Patreon at SongHenge.com. TRAVEL WITH CELTIC INVASION VACATIONS Every year, I take a small group of Celtic music fans on the relaxing adventure of a lifetime. We don't see everything. Instead, we stay in one area. We get to know the region through its culture, history, and legends. You can join us with an auditory and visual adventure through podcasts and videos. Learn more about the invasion at http://celticinvasion.com/ #celticmusic #irishmusic #celticpodcast I WANT YOUR FEEDBACK What are you doing today while listening to the podcast? You can send a written comment along with a picture of what you're doing while listening. Email a voicemail message to celticpodcast@gmail.com Brad Thompson emailed photos: "Good evening, Mark! My wife and I listen to your podcast all the time, whether it’s driving to visit family, or just to chill in the living room. I’ve taken up home brewing, specifically mead, and naturally listen while working on it. Unfortunately, shipping alcohol is a nightmare, but if you can get to North Texas, I promise to leave you a bottle on our porch (because distancing, sorry). Thanks for all your hard work." W. Ed Harris emailed: "Hey Marc! I just signed up to become a Podcast Patron. I think it’s wonderful what you are doing and I am going to make every effort to be more engaged/supportive! I am a Celtic multi-instrumentalist and do everything myself throughout the recording/release process. I will be releasing my 8th album within the next few weeks and I have 100+ YouTube videos out. I believe you may have featured me in the past in that we follow on FB Page as well. I also had a tune aired on Celtic Roots Podcast very recently and wanted to take this opportunity in sending you the video link on the tune as well. Again, Thanks so much for all you do and I look forward in getting more immersed in this wonderful culture (my heritage as well)! Sláinte my friend!" Charlie Hunt emailed a photo: "Hi Marc, I absolutely love the show and am so proud to be a Patreon. Every week, your show brings me and my very good dog Rhody so much joy and contentment. Just look how relaxed he is! Your show is one of the best parts of our week, and I’m so thankful we have someone carrying on these positive, welcoming and inclusive Celtic traditions. PS - as much Runa as possible, please! Best, Charlie (and Rhody)" Eric emailed some videos from his home: "Hi Marc. From time to time I listen to your podcast, which i think is really awesome - bringing the finest Irish and Celtic music to us and the world. A few episodes ago you asked about a possible location to go for. For quite some time I thought the region I live in could be a place you would like, but I always threw this thought away - not this time. It is a very historical and very interesting place, but not as famous as Ireland or Scotland. Although the country looks a little similar and the music is also not far off. We even have our own dialect "Plattdeutsch" which is recognized as its own language. I'm sure, now you are excited. I live in the northern part of Germany ca. 4km from the danish border, where I travel each day to work. In the past, this region often changed between Germany and Denmark. Originally it is the home of the Vikings with its trading center Haithabu (Hedeby in English), located at the end of the "Schlei", which is a fjord. Haithabu is still a location, but nowadays it is a museum including a historical village and it belongs to the city of Schleswig. Here, you can make yourself a picture of my home region, the Schlei: Video, Hedeby, World Heritage page. There are some clubs in this region that keep the old way of living alive like in the village of Haithabu or in Wallsbüll (Valsbøl in danish) where each year the battle of Wallsbüll is shown. There are some bands that play music in our dialect, but they are hard to find e.g. on YouTube. The local radio station may help to find them. Three times a week, in the evening this radio station broadcasts in our local dialect including such bands. Hope you find my notes interesting. If you have questions, just let me know. Slainte and have a great weekend!"
In Episode 48 of the CounterVortex podcast, Bill Weinberg speaks with Ernie Harburg, co-author of Who Put the Rainbow in The Wizard of Oz? Yip Harburg, Lyricist, and Deena Rosenberg, author of Fascinating Rhythm: The Collaboration of George and Ira Gershwin. Ernie and Deena are, repsectively, son and daughter-in-law of the legendary Yip Harburg, who penned the lyrics to the beloved songs of The Wizard of Oz movie. Born to poverty on the Lower East Side, Yip's breakthrough song was the Depression-era populist anthem "Brother, Can You Spare a Dime?" Known as the social conscience of Broadway and Hollywood, he would be "blacklisted" in the McCarthy era—despite his antipathy to all forms of totalitarianism, fascist or communist. Ernie and Deena and their family are keeping his legacy alive today through the Yip Harburg Foundation and Yip Harburg Lyrics Foundation. Music: "Brother, Can You Spare a Dime", Tommy Hollis Production by Chris Rywalt We ask listeners to donate just $1 per episode via Patreon. A total of $30 per episode would cover our costs for engineering and producing. We are currently up to $25. https://www.patreon.com/countervortex New episodes will be produced every two weeks. We need your support.
Today’s episode sheds light on a topic that many people don’t know much if anything at all about. On this episode, the bitches bring on Chelsea Gamache, a BCBA, who was diagnosed with Selective Mutism at the age of 5 years old. We find out what it was like to grow up with such an extreme anxiety, that no words come out. She gives us the inside scoop on how we can help these individuals struggling to find their voice. Tune in or miss out. Show notes: Join us on Patreon www.patreon.com/behaviorbitches Go follow her at Outloud: The Selective Mutism Podcast Here is a free online e-course about SM for parents, teachers, therapists: http://www.selectivemutismlearning.org/ Good article explaining what it is: https://www.kurtzpsychology.com/wp-content/uploads/2019/07/Who-Put-the-C-in-the-CBT-In-Balance-In-Focus-Spring-2016.pdf The following approaches use positive reinforcement and shaping! Article about effective therapy Parent-Child Interaction Therapy: https://www.sciencedirect.com/science/article/abs/pii/S088761851930091X Another PCIT article: https://www.kurtzpsychology.com/wp-content/uploads/2019/07/PCIT-SM-Chapter-2018-Cotter-et-al-1.pdf Another Treatment Approach: https://selectivemutismcenter.org/wp-content/uploads/2017/03/Selective_mutism_communication_anxiety_treatment_children.pdf?fbclid=IwAR25VYAm2E0P2nD4_4D6QVhTJykmW-7PZXP81kSb3srwWi5zTQbwhpWScDU For more resources go to Kurtzpsychology.com https://selectivemutismcenter.org/
In Preparation of new releases from Magnatune, we play lots of tunes even some from old artists that have made new albums recently. Hope you enjoy! Welcome to broadcast 205. Lots of good music, as well as some talk. Enjoy! Set 1: Ion, Farscape Ishwish, Meditation 5 James Akers, Fantasia JaxBros, Hospital Stay Jerry Berlongieri, Top Hat John Holowach, Tree in the Forest Set 2: The Alleycats, L.O.V.E. Tina Malia, Holy Morn Tyrone Wells, Better Off Without You (Live) Velma Frye, What Is Mauricio Buraglia, Suite en la Majeur - Courante (SL Weiss) Antiqcool, Love Light Barks and Crock, Someones Dog (Radio Edith) Ion, Flying Over Blue Waters Modinski, Flak You Minstrel Spirit, Grapes for wine Mauricio Buraglia, Suite en Sol Mineur - Aria (EG Baron) Michelle Bellerose, Mud where lovers lay Maurice and the Beejays, Who Put the Lights Out Mauricio Buraglia, Presto La Majeur (SL Weiss) Set 3: C Layne, Apathy Is Invincibility Chiwawa, Nothing Special Collection Get, Adam 10 10 Heifervescent, Rational Behaviour Hunter and the Dirty Jacks, Gotta Keep Movin' On Made of Wood, Are We Lost Mark Southeron, Ted's Axe Mix Michael Travisano, Leaves of Bluegrass 2 MonkeyTrial, Apastron My Woshin Mashin, Sun and Rain Opened Paradise, Blue Lights (unreleashed track from the Occult era) Processor, Trust Starboy Rana, Senin Senin This completes today's program, see you all on another edition.
Welcome to episode eighteen of A History of Rock Music in Five Hundred Songs. Today we’re looking at “Sh-Boom” by the Chords. Click the full post to read liner notes, links to more information, and a transcript of the episode. —-more—- Resources As always, I’ve created a Mixcloud streaming playlist with full versions of almost all the songs in the episode. In this case, I have missed out one track that’s used in the podcast – I use approximately seven seconds of the intro to “Blurred Lines” by Robin Thicke, without any of the lyrics, in the podcast. I am not going to share that song anywhere, given its lyrical content. My main resources are, as with last week Honkers & Shouters: The Golden Years of Rhythm and Blues by Arnold Shaw, one of the most important books on early 50s rhythm and blues, The Sound of the City by Charlie Gillett, and Marv Goldberg’s website. The Chords’ music has never been anthologised on CD that I can find out, but almost any good doo-wop compilation should have “Sh-Boom”. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript Let’s talk about one-hit wonders for a while. One-hit wonders have an unusual place in the realm of music history, and one which it’s never easy to decide whether to envy or to pity. After all, a one-hit wonder has had a hit, which is more than the vast majority of musicians ever do. And depending on how big the hit is and how good it is, that one hit might be enough to keep them going through a whole career. There are musicians to this day who can go out and perform in front of a crowd of a few thousand people, every night, who’ve come there just to hear that one song they recorded nearly sixty years ago — and if the musician is good enough they can get that crowd enjoying their other songs as well. But there are other musicians who can never capitalise on that one record, and who never get another shot. And for those people, as the song goes, “a taste of honey’s worse than none at all”. What initially looked like it might be a massive career turns into a fluke. Sometimes they take it well and it just becomes a story to tell the grandkids, but other times it messes up everyone’s life. There are people out there who’ve spent thirty or forty years of their life chasing a second hit, who will never be truly happy because they expected more from their brief success than it brought them. There are a lot of one-hit wonders in the world of rock and roll, and a lot of people who end up unlucky, but few have been as unlucky as the Chords, who wrote and recorded one of the biggest hits of all time, but who through a combination of bad luck in choosing a name, and more than a little racism, never managed to have a follow-up. Amazingly, they seem to have handled it far better than most. “Sh-Boom”, the Chords’ only hit, was the first rhythm and blues record by a black artist or group to make the top ten in the Billboard pop charts, so I suppose this is as good a time as any to talk about how the Billboard charts work, and how they differ from charts in the UK and some other countries. While the UK’s singles charts are based only on record sales (and, these days, streams, but that doesn’t really apply to this pre-digital era), the Billboard charts have always been an industry-specific thing rather than aimed at the public, and so they were based on many different metrics. As well as charts for record sales, they had (or have) charts for jukebox plays, for radio plays, and various other things. These would be combined into different genre-specific charts first, and those genres would be based on what the radio stations were playing. This means that the country charts would include all the songs played by country stations, the R&B charts all those played by R&B stations, and so on, rather than Billboard deciding themselves what counted as what genre. Then all of these charts would be combined to make the “Hot 100”, which is sort of a chart of charts. This would sometimes lead to anomalous results, when more than one type of station started playing a song, and some songs would end up on the country chart *and* the rhythm and blues chart *and* the pop chart. Pop is here a separate type of music in itself, and in the early 1950s what got played on “pop” radio was, essentially, the music that was made by white people in the suburbs *for* white people in the suburbs. In 1954, the year we’re talking about, the big hits were “O Mein Papa” by Eddie Fisher… [very short excerpt] “Secret Love” by Doris Day [very short excerpt] and records by Perry Como, Rosemary Clooney, Jo Stafford, and Tony Bennett. Polite, white, middle-class music for polite white middle-class people. None of that hillbilly nonsense, and *certainly* nothing by any black people. Some of it, like the Tony Bennett tracks, was pretty good, but much of it was the kind of horrible pap which made rock and roll, when it finally broke on to the pop charts, seem like such a breath of fresh air. And even the Tony Bennett records weren’t in any way exciting — they were good, but they’d relax you after a hard day, not make you want to get up and dance. What’s noticeable here is that the pop music charts were dominated by music aimed at adults. There was no music for teenagers or younger adults hitting the pop charts, and no music for dancing. During the height of the swing era, the big bands had of course been making dance music, but now every last bit of black or lower-class influence was being eradicated, in order to appeal to the “return to normalcy”. You see, by the end of the Second World War, America had been through a lot — so much so that the first call for a “return to normalcy” had been from Warren G. Harding in the 1920 election, nearly thirty years earlier. In the previous forty-five years, the country had been involved in two world wars, suffered through the depression and the dustbowl, and simultaneously seen an unprecedented growth in technology which had brought the car, the plane and now the jet, the cinema and then the talkies, the radio and the TV, and now the atomic bomb, into people’s lives. People had undergone the greatest disruption in history, and several generations had now grown up with an idea of what was “normal” that didn’t match their reality at all. And so the white, semi-prosperous, middle and upper-working class in America made a collective decision around 1946 that they were going to reconstruct that normality for themselves, and to try to pretend as much as possible that nothing had really changed. And that meant pretending that all the black people who’d moved to the Northern cities from the south in that time, and all the poor white people from Oklahoma and Texas who’d moved west to avoid the dustbowl, simply didn’t exist. Obviously those other people had some ideas of their own about that, and about how they fit into the world. And those people had a little more of a voice now than they’d had previously. The black people living in the cities had enjoyed something of a war boom — there had been so much work in the factories that many black people had pulled themselves up into something approaching affluence. That was quickly snatched away when the war ended and those jobs were quote needed by the returning heroes unquote, but a small number of them had managed to get themselves into economically secure positions, and a larger number now knew that it was *possible* for them to make money, and were more motivated than ever for social change that would let them return to their previous status. (This is a recurring pattern in the American economy, incidentally. Every time there’s an economic boom, black people are the last to benefit from it and then the first to be damaged in the downturn that follows. White America is like Lucy, putting the football of the American Dream in front of black people and then taking it away again, over and over.) And so the pop chart was for the people who were working in advertising, having three-martini lunches, and driving home to their new suburban picket-fence houses. And the other charts were for everyone else. And this is why it was the music on the other charts that was so interesting. There’s an argument that what made rock and roll something new and interesting wasn’t any one feature of the genre, but an attitude towards creation. Early rock and roll was very much what we would now think of as “mash ups” — collages or montages of wildly different elements being brought together — and this is what really distinguishes between the innovative musicians and the copycats. If you were bringing together half a dozen elements from different styles, then you were doing rock and roll. But if you were just copying one other record — even if that other record was itself a rock and roll record — and not bringing anything new to it, then you weren’t doing rock and roll, you were doing pop. And it was the people at the margins who would do rock and roll. Because they were the ones who weren’t sealing themselves off and trying to deny reality. We talked a little bit about doo-wop last week, but the songs we talked about there probably wouldn’t be called doo-wop by most listeners, though there are clear stylistic similarities. It’s probably time for me to explain what doo-wop actually is, musically. It’s a style you don’t get now, except in conscious pastiches, but it was basically an extension of the Ink Spots’ style. You have at least four singers, one of whom is a very prominent bass vocalist who sings nonsense words like “doo wop” or “bom bom ba dom”, another of whom is a high tenor who takes most of the leads, and the rest sing harmonies in the middle. While the jump bands and western swing were both music that dominated on the West Coast — the early jump bands were often based in New York, but LA was really the base of the music — doo wop was a music of the North-East. It sometimes got as far west as Detroit, but it was mostly New York, Washington DC, and a bit later New Jersey, that produced doo-wop singers. And it was doo-wop that would really take off as a musical style. While the jump bands remained mildly successful, the early fifties saw them decline in popularity as far as the R&B charts went, because the new vocal groups were becoming the dominant form in R&B — and this was especially true of the “bird groups”. The first “bird group” was the Ravens, and they might be considered the first doo-wop group full stop. They took the Ink Spots’ “top and bottom” format and extended it, so that on their ballads there’d be more interplay between the high and low vocals. Listening to “You Foolish Thing” you can clearly hear the Ink Spots influence: [excerpt “you Foolish Thing”] On their uptempo music, on the other hand, they just had the bass singer sing the lead: [excerpt: the Ravens “Rock Me All Night Long”] And the Ravens became massively influential. They’d found a way to get the catchiest parts of the Ink Spots sound, but without having to stick so closely to the formula. It could work for all kinds of songs, and soon there were a whole host of bands named after birds and singing in the Ravens’ style — the Orioles, the Flamingoes, the Penguins, the Wrens, and many more. We’ve already heard one of the bands they influenced when we listened to the Robins. The other major influential bird group was the Orioles, whose “It’s Too Soon To Know” is another record that’s often considered by some to be “the first rock and roll record” — though to my ears it just sounds like a derivative of the Ink Spots rather than anything new: [excerpt “It’s Too Soon to Know” by the Orioles] So there’s a clear stylistic progression there, but we’re not looking at anything radically different from what came before. The first real doo-wop record to really have a major impact was “Gee”, by the Crows, another bird group, which was recorded and released in 1953, but became a hit in 1954, charting a month after “Sh-Boom” was recorded, but before Sh-Boom itself became a hit: [excerpt: “Gee”, the Crows] “Gee” is doo-wop absolutely fully formed, and it’s a record which had a massive influence, particularly on young California teenagers who were growing up listening to Johnny Otis’ radio show — both Frank Zappa and the Beach Boys would later record their own strange takes on the song, emphasising how odd the record actually sounded. It’s also widely credited as the first R&B record to become a hit with a large part of its audience being white teenagers. More than any other form of R&B, doo-wop traded in the concerns of the adolescent, and so it was the first subgenre to become accessible to that huge demographic of white kids who wanted something new they could appropriate and call their own. “Gee” is a record that deserves an episode to itself, frankly, in terms of importance, but there’s not much to say about it — the Crows had one hit, never had another, split up soon after, and there’s no real biographical information out there about them. The record just stands on its own. That’s also true for “Sh-Boom”, and the Chords were another one-hit wonder, but there’s a difference there. While “Gee” was the first doo-wop record to make money from white people, “Sh-Boom” was the first doo-wop record to lose money to white people. [excerpt: “Sh-Boom”, the Chords] The Chords were, at least, not actually a bird group — they were too individual for that — but in other respects they’re very much in the typical mould of the early doo-wop bands, and “Sh-Boom” is, in many ways, an absolutely typical doo-wop song. “Sh-Boom” was not meant to be a hit. It was released on Cat records, a subsidiary of Atlantic Records, but apparently everyone at Atlantic hated the song — it was only recorded at the Chords’ insistence, and it was originally only a B-side until the song started to hit with the DJs. Sh-Boom was arranged by Jesse Stone, but presumably his contribution was the instrumental, rather than the vocal arrangement, as the song was written by the Chords themselves, originally while sitting together in a car. At the time, according to Buddy McCrea of the band, “When they talked to each other, they’d say ‘boom.’ They’d say ‘Hey, man, boom, how ya doin’.” Jimmy Keyes, also of the band, said “‘Boom’ was the slang word. If you were standing on this block for five minutes, you’d hear that slang word fifteen times or more. We would take the ‘boom’ and make it sound like a bomb: ‘shhhhhh-BOOM’.” Even the nonsense words in the background were, according to Keyes, meaningful to the band — “‘A langala langala lang.’ Well, you could hear the church bells over there,” while other parts were references to someone called “Bip”, the uncle of band members Carl and Claude Feaster. Bip was homeless, and apparently stank, and when Bip would come to visit, according to Keyes, “We could smell Bip as soon as he opened the door.” They would cover their noses and sing “here comes Bip, a flip a dooba dip.” And one suspects that this played a big part in the song’s success — while the lyrics are genial gibberish, they’re genial gibberish that had meaning to the singers, if not to the audience. That wasn’t necessarily appreciated by older people though. The great satirist Stan Freberg recorded a rather mean-spirited parody of the song, combining it with a parody of Marlon Brando who was similarly popular at the time and who Freberg thought comparable in unintelligibility: [excerpt: Stan Freberg “Sh-Boom”] But there’s an element of racism in the popular reaction to the success of “Sh-Boom”. There was a belief among many people that since they couldn’t understand the lyrics, they were hiding some secret code. And any secret code sung by black men must, obviously, have to do with sex. We’ll see a lot of this kind of thing as the story goes on, unfortunately. But of course, meaningless lyrics have a long, long, history in popular music — much longer than is usually appreciated. Most people, when they’re talking about nonsense lyrics, trace scat singing back as far as Louis Armstrong imitating his own trumpet. But there’s a good argument that they go back as far as we have records of songs existing, or almost. If you look at traditional folk music you’ll often find a common pattern, of people singing “As I walked out one bright summer’s day/sing too ra la loo ra la loo ra la lay” or similar. That kind of nonsense singing dates back as far as we have records, and no-one knows how it started, but one hypothesis I’ve seen which makes sense to me is that it comes from Gregorian chant and similar religious forms. No, seriously. It makes sense when you think about it. One of the places that people in the Middle Ages were most likely to hear music was in church, and many early motets contained Latin texts — usually sung by the tenors — while other people would sing commentary or explanation of the lyrics in the vernacular — English or French or whatever language. Now, for a peasant hearing this, what do you hear? You hear some of the people singing words that make sense to you, in your own language, but it’s mixed in with this other gibberish that you don’t understand. If the people you’re listening to are singing something that makes sense and they drop into Latin, they might as well be singing “Sh-Boom Sh-Boom sha la la la la la la la la la la la” for all the sense it’ll make to you. So you come to the conclusion that that’s just how songs *are*. They have bits that make sense and then bits of nonsense that sounds good. Indeed, one of the bits of lyric of “Sh-Boom” as it’s commonly transcribed is “hey nonny”, which if that’s the lyric would tie directly back into that old folk tradition — that is, sadly, the one bit of nonsense syllabics that the band weren’t asked about, and so we can’t know if they were thinking of minstrels singing “hey nonny nonny”, or if it had some other inspiration as personal as Uncle Bip. But either way, after “Sh-Boom” doo-wop, and R&B in general, became obsessed with nonsense syllabics. We’ll be hearing a lot of examples of this in the next few years, and it became so prevalent that by 1961 Barry Mann was asking this musical question: [excerpt: “Who Put the Bomp”, Barry Mann] Doo-wop started as a musical style among black teenagers in East Coast cities, but within a few years it became dominated by Italian-American teenagers from the same areas, and we’ll see that progression happen over the next eighty or ninety episodes of this podcast. But we can also see it happening in miniature in the Chords’ career. Because while they had a big hit with “Sh-Boom”, they didn’t have the biggest hit with it. If you vaguely know “Sh-Boom”, maybe from hearing it in a film soundtrack, you might have been surprised when you heard a snatch of it earlier in this episode. It might have sounded very subtly wrong. It will have sounded *more or less* like the record you know, but… different. That’s because the record you know isn’t “Sh-Boom” by the Chords, but “Sh-Boom” by the Crew Cuts. To explain why, we’re first going to have to talk about “A Little Bird Told Me”: “A Little Bird Told Me” was a song originally recorded by Paula Watson on Supreme Records. Watson, and all the musicians on the record, and the record label’s owner, were all black. Watson’s record went to number two on the R&B charts and number fourteen on the bestseller charts: [excerpt “A Little Bird Told Me”, Paula Watson] And then Decca put out a record — “A Little Bird Told Me”, sung by Evelyn Knight: [excerpt: “A Little Bird Told Me”, Evelyn Knight] That record went to number one on the pop charts. And everyone involved in *that* record — the singer, the backing band, the record label owners — was white. Now, to just show you how ridiculously similar the two are, I’m going to try something — I’m going to play both records together, simultaneously. [excerpt: both versions of “A Little Bird Told Me” played together] As you can imagine, the owners of Supreme Records were more than a little put out by this. This kind of direct copying was *not* the norm in the late 1940s — as we’ve talked about before, it was perfectly normal for people to rework songs into their own style, and to do different versions for different markets, but just to make a record sounding as close as possible to someone else’s hit record of the song, that was unusual. So Supreme Records took Decca to court, and said that Decca’s record was copyright infringement. It was a direct copy of their record and should be treated as such. Before we go any further, you have to know that there are roughly three different concepts that many people confuse when they’re talking about the music industry, all of which are important. There’s the song, the recording, and the arrangement. The song is, to put it simply, just what the singer sings. It’s the words and the melody line, and maybe the chord sequence if the chord sequence is sufficiently original. But basically, if you can sing it to yourself unaccompanied, that bit’s the song. And the copyright in that is owned by the songwriter or her publisher. Now, once a song has been published, either as a record or as sheet music, *anyone* at all can make a recording of it or perform it live. There are certain conditions to that — you can change the song in minor ways, to put it into your own style, or for example to give the protagonist’s love interest a different gender if that’s something that concerns you, but you can’t make major changes to the song’s melody or lyrics without the writer or publisher’s permission. You also can’t use the song in a film or TV show without jumping through some other hoops, just on a record or live performance. But I could, right now, make and release an album of “Andrew Hickey Sings the Lennon and McCartney Songbook in the Bath” and I wouldn’t need anyone’s permission to do so, so long as I paid Lennon and McCartney’s publishers the legal minimum amount for every copy I sold. I need a songwriter’s permission to make the *first* record of their song, but anyone can legally make the second. The next thing is the recording itself — the specific recording of a specific performance. These days, that too is under copyright — I can put out my *own* recording of me singing Beatles songs, but I can’t just release a CD of one of the Beatles’ albums, at least if I don’t want to go to prison. A lot of people get confused by this because we talk, for example, about “She Loves You” being “a Beatles song” — in fact, it’s a Lennon and McCartney *song* performed on a Beatles *recording*. These days, each individual recording has its own copyright, but at the time we’re talking about, in the US, there was no federal legislation giving copyright to sound recordings — that didn’t end up happening, in fact, until the 1970s. Up to that point, the copyright law around sound recordings was based on case law and odd rulings (for example it was ruled that it was illegal to play a record on the radio without permission, not because of copyright, but because of the right to privacy — playing a record which had only been licensed for individual use to a group was considered like opening someone’s mail). But still, there was usually at least state-level copyright law around recordings, and so record labels were fairly safe. But there’s a third aspect, one somewhere between the song and the recording, and that’s the arrangement. The arrangement is all the decisions made about how to perform a song — things like how much of a groove you want it to have, whether you’re going to back it with guitar or harpsichord or accordion, whether the backing instruments are going to play countermelodies or riffs or just strum the chords, whether you’re going to play it as a slow ballad or an uptempo boogie. All that stuff. Until the “A Little Bird Told Me” case, everyone had assumed that arrangements were copyrightable. It makes sense that they would be — you can write them down in sheet music form, they make a massive difference to how the performance sounds, they’re often what we remember most, and they require a huge amount of creative effort. By every basic principle of copyright law, arrangements should be copyrightable. But the court ruled otherwise, and set a precedent that held until very recently — until, in fact, a case that only went through its final appeal in December 2018, the “Blurred Lines” case, which ruled on whether Robin Thicke’s “Blurred Lines” plagiarised Marvin Gaye’s “Got To Give It Up”. [excerpts: “Blurred Lines” and “Got To Give It Up”] Between “A Little Bird Told Me” and “Blurred Lines”, copyright law in the US held that you could copyright an actual recording, and you could copyright a song, but you couldn’t copyright an arrangement or groove. And this had two major effects on the music industry, both of them hugely detrimental to black people. The first was simply that people could steal a groove — a riff or rhythm or feel — and make a new record with new lyrics and melody but the same groove, without giving credit. As the genres favoured by black musicians were mostly groove-based, while those favoured by white musicians were mostly melody-based, white musicians were more protected from theft than black musicians were. Bo Diddley, for example, invented the “Bo Diddley beat”, but didn’t receive royalties from Buddy Holly, the Rolling Stones, or George Michael when they used that rhythm. And secondly, it opened the floodgates to white musicians remaking black musicians’ hits in the same style as the black musicians. Up to this point, if a white singer had covered a black musician, or vice versa, it would have been with a different feel and a different arrangement. But now, all of a sudden, whenever a black musician put out an interesting-sounding record, a white person would put out an identical copy, and the white version would get the radio play and record sales. As the black musicians tended to record for tiny labels while the white ones would be on major labels that wouldn’t sign black musicians, the result was that a whole generation of black innovators saw their work stolen from them. And we’ll be seeing the results of that play out in a lot of the records we talk about in the future. But for most of the records we’re going to look at, the one that’s stood the test of time will be the original — very few people nowadays listen to, say, Pat Boone’s versions of “Tutti Frutti” or “Ain’t That A Shame”, because no-one would do so when the Little Richard or Fats Domino versions are available. But with “Sh-Boom”, the version that still has most traction is by The Crew Cuts. [excerpt: “Sh-Boom” – the Crew Cuts] The Crew Cuts were a white, Canadian, vocal group, who specialised in rerecording songs originally performed by black groups, in near-identical arrangements, and scoring bigger hits with them than the black people had. In the case of “Sh-Boom”, sadly, the characterless white copy has dominated in popular culture over the version that actually has some life in it. The Chords never had another hit, although “Sh-Boom” was successful enough that at one point in 1955 there was even a Sh-Boom shampoo on the market, made by a company owned by the Chords themselves. Lawsuits over the band’s name which made them have to be known for a time as the Chordcats contributed to their decline, and while there were several reunions over the years, they never replicated the magic of “Sh-Boom”. The Crew Cuts, on the other hand, had many more hits, successfully leeching off sales of records of black artists like the Penguins, Gene and Eunice, Nappy Brown, and Otis Williams and the Charms, and getting more airplay and sales from identical copies. They even had the gall to say that those artists should be grateful to the Crew Cuts, for giving their songs exposure. We’ll be talking about several of those songs in the next few weeks. It seems it’s not as hard to follow up your first hit if you don’t have to have any ideas yourself, just be white.
Welcome to episode eighteen of A History of Rock Music in Five Hundred Songs. Today we're looking at "Sh-Boom" by the Chords. Click the full post to read liner notes, links to more information, and a transcript of the episode. ----more---- Resources As always, I've created a Mixcloud streaming playlist with full versions of almost all the songs in the episode. In this case, I have missed out one track that's used in the podcast - I use approximately seven seconds of the intro to "Blurred Lines" by Robin Thicke, without any of the lyrics, in the podcast. I am not going to share that song anywhere, given its lyrical content. My main resources are, as with last week Honkers & Shouters: The Golden Years of Rhythm and Blues by Arnold Shaw, one of the most important books on early 50s rhythm and blues, The Sound of the City by Charlie Gillett, and Marv Goldberg's website. The Chords' music has never been anthologised on CD that I can find out, but almost any good doo-wop compilation should have "Sh-Boom". Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript Let's talk about one-hit wonders for a while. One-hit wonders have an unusual place in the realm of music history, and one which it's never easy to decide whether to envy or to pity. After all, a one-hit wonder has had a hit, which is more than the vast majority of musicians ever do. And depending on how big the hit is and how good it is, that one hit might be enough to keep them going through a whole career. There are musicians to this day who can go out and perform in front of a crowd of a few thousand people, every night, who've come there just to hear that one song they recorded nearly sixty years ago -- and if the musician is good enough they can get that crowd enjoying their other songs as well. But there are other musicians who can never capitalise on that one record, and who never get another shot. And for those people, as the song goes, "a taste of honey's worse than none at all". What initially looked like it might be a massive career turns into a fluke. Sometimes they take it well and it just becomes a story to tell the grandkids, but other times it messes up everyone's life. There are people out there who've spent thirty or forty years of their life chasing a second hit, who will never be truly happy because they expected more from their brief success than it brought them. There are a lot of one-hit wonders in the world of rock and roll, and a lot of people who end up unlucky, but few have been as unlucky as the Chords, who wrote and recorded one of the biggest hits of all time, but who through a combination of bad luck in choosing a name, and more than a little racism, never managed to have a follow-up. Amazingly, they seem to have handled it far better than most. "Sh-Boom", the Chords' only hit, was the first rhythm and blues record by a black artist or group to make the top ten in the Billboard pop charts, so I suppose this is as good a time as any to talk about how the Billboard charts work, and how they differ from charts in the UK and some other countries. While the UK's singles charts are based only on record sales (and, these days, streams, but that doesn't really apply to this pre-digital era), the Billboard charts have always been an industry-specific thing rather than aimed at the public, and so they were based on many different metrics. As well as charts for record sales, they had (or have) charts for jukebox plays, for radio plays, and various other things. These would be combined into different genre-specific charts first, and those genres would be based on what the radio stations were playing. This means that the country charts would include all the songs played by country stations, the R&B charts all those played by R&B stations, and so on, rather than Billboard deciding themselves what counted as what genre. Then all of these charts would be combined to make the "Hot 100", which is sort of a chart of charts. This would sometimes lead to anomalous results, when more than one type of station started playing a song, and some songs would end up on the country chart *and* the rhythm and blues chart *and* the pop chart. Pop is here a separate type of music in itself, and in the early 1950s what got played on "pop" radio was, essentially, the music that was made by white people in the suburbs *for* white people in the suburbs. In 1954, the year we're talking about, the big hits were "O Mein Papa" by Eddie Fisher... [very short excerpt] "Secret Love" by Doris Day [very short excerpt] and records by Perry Como, Rosemary Clooney, Jo Stafford, and Tony Bennett. Polite, white, middle-class music for polite white middle-class people. None of that hillbilly nonsense, and *certainly* nothing by any black people. Some of it, like the Tony Bennett tracks, was pretty good, but much of it was the kind of horrible pap which made rock and roll, when it finally broke on to the pop charts, seem like such a breath of fresh air. And even the Tony Bennett records weren't in any way exciting -- they were good, but they'd relax you after a hard day, not make you want to get up and dance. What's noticeable here is that the pop music charts were dominated by music aimed at adults. There was no music for teenagers or younger adults hitting the pop charts, and no music for dancing. During the height of the swing era, the big bands had of course been making dance music, but now every last bit of black or lower-class influence was being eradicated, in order to appeal to the "return to normalcy". You see, by the end of the Second World War, America had been through a lot -- so much so that the first call for a "return to normalcy" had been from Warren G. Harding in the 1920 election, nearly thirty years earlier. In the previous forty-five years, the country had been involved in two world wars, suffered through the depression and the dustbowl, and simultaneously seen an unprecedented growth in technology which had brought the car, the plane and now the jet, the cinema and then the talkies, the radio and the TV, and now the atomic bomb, into people's lives. People had undergone the greatest disruption in history, and several generations had now grown up with an idea of what was "normal" that didn't match their reality at all. And so the white, semi-prosperous, middle and upper-working class in America made a collective decision around 1946 that they were going to reconstruct that normality for themselves, and to try to pretend as much as possible that nothing had really changed. And that meant pretending that all the black people who'd moved to the Northern cities from the south in that time, and all the poor white people from Oklahoma and Texas who'd moved west to avoid the dustbowl, simply didn't exist. Obviously those other people had some ideas of their own about that, and about how they fit into the world. And those people had a little more of a voice now than they'd had previously. The black people living in the cities had enjoyed something of a war boom -- there had been so much work in the factories that many black people had pulled themselves up into something approaching affluence. That was quickly snatched away when the war ended and those jobs were quote needed by the returning heroes unquote, but a small number of them had managed to get themselves into economically secure positions, and a larger number now knew that it was *possible* for them to make money, and were more motivated than ever for social change that would let them return to their previous status. (This is a recurring pattern in the American economy, incidentally. Every time there's an economic boom, black people are the last to benefit from it and then the first to be damaged in the downturn that follows. White America is like Lucy, putting the football of the American Dream in front of black people and then taking it away again, over and over.) And so the pop chart was for the people who were working in advertising, having three-martini lunches, and driving home to their new suburban picket-fence houses. And the other charts were for everyone else. And this is why it was the music on the other charts that was so interesting. There's an argument that what made rock and roll something new and interesting wasn't any one feature of the genre, but an attitude towards creation. Early rock and roll was very much what we would now think of as "mash ups" -- collages or montages of wildly different elements being brought together -- and this is what really distinguishes between the innovative musicians and the copycats. If you were bringing together half a dozen elements from different styles, then you were doing rock and roll. But if you were just copying one other record -- even if that other record was itself a rock and roll record -- and not bringing anything new to it, then you weren't doing rock and roll, you were doing pop. And it was the people at the margins who would do rock and roll. Because they were the ones who weren't sealing themselves off and trying to deny reality. We talked a little bit about doo-wop last week, but the songs we talked about there probably wouldn't be called doo-wop by most listeners, though there are clear stylistic similarities. It's probably time for me to explain what doo-wop actually is, musically. It's a style you don't get now, except in conscious pastiches, but it was basically an extension of the Ink Spots' style. You have at least four singers, one of whom is a very prominent bass vocalist who sings nonsense words like "doo wop" or "bom bom ba dom", another of whom is a high tenor who takes most of the leads, and the rest sing harmonies in the middle. While the jump bands and western swing were both music that dominated on the West Coast -- the early jump bands were often based in New York, but LA was really the base of the music -- doo wop was a music of the North-East. It sometimes got as far west as Detroit, but it was mostly New York, Washington DC, and a bit later New Jersey, that produced doo-wop singers. And it was doo-wop that would really take off as a musical style. While the jump bands remained mildly successful, the early fifties saw them decline in popularity as far as the R&B charts went, because the new vocal groups were becoming the dominant form in R&B -- and this was especially true of the "bird groups". The first "bird group" was the Ravens, and they might be considered the first doo-wop group full stop. They took the Ink Spots' "top and bottom" format and extended it, so that on their ballads there'd be more interplay between the high and low vocals. Listening to "You Foolish Thing" you can clearly hear the Ink Spots influence: [excerpt "you Foolish Thing"] On their uptempo music, on the other hand, they just had the bass singer sing the lead: [excerpt: the Ravens “Rock Me All Night Long”] And the Ravens became massively influential. They'd found a way to get the catchiest parts of the Ink Spots sound, but without having to stick so closely to the formula. It could work for all kinds of songs, and soon there were a whole host of bands named after birds and singing in the Ravens' style -- the Orioles, the Flamingoes, the Penguins, the Wrens, and many more. We've already heard one of the bands they influenced when we listened to the Robins. The other major influential bird group was the Orioles, whose "It's Too Soon To Know" is another record that's often considered by some to be "the first rock and roll record" -- though to my ears it just sounds like a derivative of the Ink Spots rather than anything new: [excerpt "It's Too Soon to Know" by the Orioles] So there's a clear stylistic progression there, but we're not looking at anything radically different from what came before. The first real doo-wop record to really have a major impact was "Gee", by the Crows, another bird group, which was recorded and released in 1953, but became a hit in 1954, charting a month after "Sh-Boom" was recorded, but before Sh-Boom itself became a hit: [excerpt: "Gee", the Crows] "Gee" is doo-wop absolutely fully formed, and it's a record which had a massive influence, particularly on young California teenagers who were growing up listening to Johnny Otis' radio show -- both Frank Zappa and the Beach Boys would later record their own strange takes on the song, emphasising how odd the record actually sounded. It's also widely credited as the first R&B record to become a hit with a large part of its audience being white teenagers. More than any other form of R&B, doo-wop traded in the concerns of the adolescent, and so it was the first subgenre to become accessible to that huge demographic of white kids who wanted something new they could appropriate and call their own. "Gee" is a record that deserves an episode to itself, frankly, in terms of importance, but there's not much to say about it -- the Crows had one hit, never had another, split up soon after, and there's no real biographical information out there about them. The record just stands on its own. That's also true for "Sh-Boom", and the Chords were another one-hit wonder, but there's a difference there. While "Gee" was the first doo-wop record to make money from white people, "Sh-Boom" was the first doo-wop record to lose money to white people. [excerpt: “Sh-Boom”, the Chords] The Chords were, at least, not actually a bird group -- they were too individual for that -- but in other respects they're very much in the typical mould of the early doo-wop bands, and "Sh-Boom" is, in many ways, an absolutely typical doo-wop song. "Sh-Boom" was not meant to be a hit. It was released on Cat records, a subsidiary of Atlantic Records, but apparently everyone at Atlantic hated the song -- it was only recorded at the Chords' insistence, and it was originally only a B-side until the song started to hit with the DJs. Sh-Boom was arranged by Jesse Stone, but presumably his contribution was the instrumental, rather than the vocal arrangement, as the song was written by the Chords themselves, originally while sitting together in a car. At the time, according to Buddy McCrea of the band, "When they talked to each other, they'd say 'boom.' They'd say 'Hey, man, boom, how ya doin'." Jimmy Keyes, also of the band, said "'Boom' was the slang word. If you were standing on this block for five minutes, you'd hear that slang word fifteen times or more. We would take the 'boom' and make it sound like a bomb: 'shhhhhh-BOOM'." Even the nonsense words in the background were, according to Keyes, meaningful to the band -- "'A langala langala lang.' Well, you could hear the church bells over there," while other parts were references to someone called "Bip", the uncle of band members Carl and Claude Feaster. Bip was homeless, and apparently stank, and when Bip would come to visit, according to Keyes, "We could smell Bip as soon as he opened the door." They would cover their noses and sing "here comes Bip, a flip a dooba dip." And one suspects that this played a big part in the song's success -- while the lyrics are genial gibberish, they're genial gibberish that had meaning to the singers, if not to the audience. That wasn't necessarily appreciated by older people though. The great satirist Stan Freberg recorded a rather mean-spirited parody of the song, combining it with a parody of Marlon Brando who was similarly popular at the time and who Freberg thought comparable in unintelligibility: [excerpt: Stan Freberg "Sh-Boom"] But there's an element of racism in the popular reaction to the success of "Sh-Boom". There was a belief among many people that since they couldn't understand the lyrics, they were hiding some secret code. And any secret code sung by black men must, obviously, have to do with sex. We'll see a lot of this kind of thing as the story goes on, unfortunately. But of course, meaningless lyrics have a long, long, history in popular music -- much longer than is usually appreciated. Most people, when they're talking about nonsense lyrics, trace scat singing back as far as Louis Armstrong imitating his own trumpet. But there's a good argument that they go back as far as we have records of songs existing, or almost. If you look at traditional folk music you'll often find a common pattern, of people singing "As I walked out one bright summer's day/sing too ra la loo ra la loo ra la lay" or similar. That kind of nonsense singing dates back as far as we have records, and no-one knows how it started, but one hypothesis I've seen which makes sense to me is that it comes from Gregorian chant and similar religious forms. No, seriously. It makes sense when you think about it. One of the places that people in the Middle Ages were most likely to hear music was in church, and many early motets contained Latin texts -- usually sung by the tenors -- while other people would sing commentary or explanation of the lyrics in the vernacular -- English or French or whatever language. Now, for a peasant hearing this, what do you hear? You hear some of the people singing words that make sense to you, in your own language, but it's mixed in with this other gibberish that you don't understand. If the people you're listening to are singing something that makes sense and they drop into Latin, they might as well be singing "Sh-Boom Sh-Boom sha la la la la la la la la la la la" for all the sense it'll make to you. So you come to the conclusion that that's just how songs *are*. They have bits that make sense and then bits of nonsense that sounds good. Indeed, one of the bits of lyric of “Sh-Boom” as it's commonly transcribed is "hey nonny", which if that's the lyric would tie directly back into that old folk tradition -- that is, sadly, the one bit of nonsense syllabics that the band weren't asked about, and so we can't know if they were thinking of minstrels singing "hey nonny nonny", or if it had some other inspiration as personal as Uncle Bip. But either way, after “Sh-Boom” doo-wop, and R&B in general, became obsessed with nonsense syllabics. We'll be hearing a lot of examples of this in the next few years, and it became so prevalent that by 1961 Barry Mann was asking this musical question: [excerpt: “Who Put the Bomp”, Barry Mann] Doo-wop started as a musical style among black teenagers in East Coast cities, but within a few years it became dominated by Italian-American teenagers from the same areas, and we'll see that progression happen over the next eighty or ninety episodes of this podcast. But we can also see it happening in miniature in the Chords' career. Because while they had a big hit with "Sh-Boom", they didn't have the biggest hit with it. If you vaguely know "Sh-Boom", maybe from hearing it in a film soundtrack, you might have been surprised when you heard a snatch of it earlier in this episode. It might have sounded very subtly wrong. It will have sounded *more or less* like the record you know, but... different. That's because the record you know isn't "Sh-Boom" by the Chords, but "Sh-Boom" by the Crew Cuts. To explain why, we're first going to have to talk about "A Little Bird Told Me": "A Little Bird Told Me" was a song originally recorded by Paula Watson on Supreme Records. Watson, and all the musicians on the record, and the record label's owner, were all black. Watson's record went to number two on the R&B charts and number fourteen on the bestseller charts: [excerpt "A Little Bird Told Me", Paula Watson] And then Decca put out a record -- "A Little Bird Told Me", sung by Evelyn Knight: [excerpt: "A Little Bird Told Me", Evelyn Knight] That record went to number one on the pop charts. And everyone involved in *that* record -- the singer, the backing band, the record label owners -- was white. Now, to just show you how ridiculously similar the two are, I'm going to try something -- I'm going to play both records together, simultaneously. [excerpt: both versions of "A Little Bird Told Me" played together] As you can imagine, the owners of Supreme Records were more than a little put out by this. This kind of direct copying was *not* the norm in the late 1940s -- as we've talked about before, it was perfectly normal for people to rework songs into their own style, and to do different versions for different markets, but just to make a record sounding as close as possible to someone else's hit record of the song, that was unusual. So Supreme Records took Decca to court, and said that Decca's record was copyright infringement. It was a direct copy of their record and should be treated as such. Before we go any further, you have to know that there are roughly three different concepts that many people confuse when they're talking about the music industry, all of which are important. There's the song, the recording, and the arrangement. The song is, to put it simply, just what the singer sings. It's the words and the melody line, and maybe the chord sequence if the chord sequence is sufficiently original. But basically, if you can sing it to yourself unaccompanied, that bit's the song. And the copyright in that is owned by the songwriter or her publisher. Now, once a song has been published, either as a record or as sheet music, *anyone* at all can make a recording of it or perform it live. There are certain conditions to that -- you can change the song in minor ways, to put it into your own style, or for example to give the protagonist's love interest a different gender if that's something that concerns you, but you can't make major changes to the song's melody or lyrics without the writer or publisher's permission. You also can't use the song in a film or TV show without jumping through some other hoops, just on a record or live performance. But I could, right now, make and release an album of "Andrew Hickey Sings the Lennon and McCartney Songbook in the Bath" and I wouldn't need anyone's permission to do so, so long as I paid Lennon and McCartney's publishers the legal minimum amount for every copy I sold. I need a songwriter's permission to make the *first* record of their song, but anyone can legally make the second. The next thing is the recording itself -- the specific recording of a specific performance. These days, that too is under copyright -- I can put out my *own* recording of me singing Beatles songs, but I can't just release a CD of one of the Beatles' albums, at least if I don't want to go to prison. A lot of people get confused by this because we talk, for example, about "She Loves You" being "a Beatles song" -- in fact, it's a Lennon and McCartney *song* performed on a Beatles *recording*. These days, each individual recording has its own copyright, but at the time we're talking about, in the US, there was no federal legislation giving copyright to sound recordings -- that didn't end up happening, in fact, until the 1970s. Up to that point, the copyright law around sound recordings was based on case law and odd rulings (for example it was ruled that it was illegal to play a record on the radio without permission, not because of copyright, but because of the right to privacy -- playing a record which had only been licensed for individual use to a group was considered like opening someone's mail). But still, there was usually at least state-level copyright law around recordings, and so record labels were fairly safe. But there's a third aspect, one somewhere between the song and the recording, and that's the arrangement. The arrangement is all the decisions made about how to perform a song -- things like how much of a groove you want it to have, whether you're going to back it with guitar or harpsichord or accordion, whether the backing instruments are going to play countermelodies or riffs or just strum the chords, whether you're going to play it as a slow ballad or an uptempo boogie. All that stuff. Until the "A Little Bird Told Me" case, everyone had assumed that arrangements were copyrightable. It makes sense that they would be -- you can write them down in sheet music form, they make a massive difference to how the performance sounds, they're often what we remember most, and they require a huge amount of creative effort. By every basic principle of copyright law, arrangements should be copyrightable. But the court ruled otherwise, and set a precedent that held until very recently -- until, in fact, a case that only went through its final appeal in December 2018, the "Blurred Lines" case, which ruled on whether Robin Thicke's "Blurred Lines" plagiarised Marvin Gaye's "Got To Give It Up". [excerpts: “Blurred Lines” and “Got To Give It Up”] Between "A Little Bird Told Me" and "Blurred Lines", copyright law in the US held that you could copyright an actual recording, and you could copyright a song, but you couldn't copyright an arrangement or groove. And this had two major effects on the music industry, both of them hugely detrimental to black people. The first was simply that people could steal a groove -- a riff or rhythm or feel -- and make a new record with new lyrics and melody but the same groove, without giving credit. As the genres favoured by black musicians were mostly groove-based, while those favoured by white musicians were mostly melody-based, white musicians were more protected from theft than black musicians were. Bo Diddley, for example, invented the "Bo Diddley beat", but didn't receive royalties from Buddy Holly, the Rolling Stones, or George Michael when they used that rhythm. And secondly, it opened the floodgates to white musicians remaking black musicians' hits in the same style as the black musicians. Up to this point, if a white singer had covered a black musician, or vice versa, it would have been with a different feel and a different arrangement. But now, all of a sudden, whenever a black musician put out an interesting-sounding record, a white person would put out an identical copy, and the white version would get the radio play and record sales. As the black musicians tended to record for tiny labels while the white ones would be on major labels that wouldn't sign black musicians, the result was that a whole generation of black innovators saw their work stolen from them. And we'll be seeing the results of that play out in a lot of the records we talk about in the future. But for most of the records we're going to look at, the one that's stood the test of time will be the original -- very few people nowadays listen to, say, Pat Boone's versions of "Tutti Frutti" or "Ain't That A Shame", because no-one would do so when the Little Richard or Fats Domino versions are available. But with "Sh-Boom", the version that still has most traction is by The Crew Cuts. [excerpt: “Sh-Boom” – the Crew Cuts] The Crew Cuts were a white, Canadian, vocal group, who specialised in rerecording songs originally performed by black groups, in near-identical arrangements, and scoring bigger hits with them than the black people had. In the case of "Sh-Boom", sadly, the characterless white copy has dominated in popular culture over the version that actually has some life in it. The Chords never had another hit, although "Sh-Boom" was successful enough that at one point in 1955 there was even a Sh-Boom shampoo on the market, made by a company owned by the Chords themselves. Lawsuits over the band's name which made them have to be known for a time as the Chordcats contributed to their decline, and while there were several reunions over the years, they never replicated the magic of "Sh-Boom". The Crew Cuts, on the other hand, had many more hits, successfully leeching off sales of records of black artists like the Penguins, Gene and Eunice, Nappy Brown, and Otis Williams and the Charms, and getting more airplay and sales from identical copies. They even had the gall to say that those artists should be grateful to the Crew Cuts, for giving their songs exposure. We'll be talking about several of those songs in the next few weeks. It seems it's not as hard to follow up your first hit if you don't have to have any ideas yourself, just be white.
The Word Jazz crew talks our first color-related episode. Included in this episode is "caught red handed", "green with envy", and the Blues! References:http://mentalfloss.com/article/33503/where-did-phrase-caught-red-handed-come"Who Put the Butter in Butterfly" by David Feldmanhttp://www.huffingtonpost.com/debra-devi/blues-music-history_b_2399330.htmlWebsite: wordjazzpodcast.comPatreon: patreon.com/wordjazzFacebook: https://www.facebook.com/wordjazz/Instagram: https://www.instagram.com/word_jazz/Twitter: https://twitter.com/wordjazzpodcastMusic: https://animalmidnight.bandcamp.com/
The Word Jazz crew talks our first color-related episode. Included in this episode is "caught red handed", "green with envy", and the Blues! References:http://mentalfloss.com/article/33503/where-did-phrase-caught-red-handed-come"Who Put the Butter in Butterfly" by David Feldmanhttp://www.huffingtonpost.com/debra-devi/blues-music-history_b_2399330.htmlWebsite: wordjazzpodcast.comPatreon: patreon.com/wordjazzFacebook: https://www.facebook.com/wordjazz/Instagram: https://www.instagram.com/word_jazz/Twitter: https://twitter.com/wordjazzpodcastMusic: https://animalmidnight.bandcamp.com/
Normaal onthult Google tijdens zijn jaarlijkse conferentie in mei een nieuwe versie van Android. Deze week werd echter onverwachts al een testversie van Android N uit de doeken gedaan. Waarom vervroegt Google de eerste aankondiging van het besturingssysteem en waarom kan jij de software voorlopig toch nog niet gebruiken? We bespreken de veranderingen in Android N en het doel dat Google met zijn systeem voor ogen heeft. Lees- en kijktip Deze week zijn er drie leestips. De eerste is het stuk Fixing Twitter van Fortune over hoe Jack Dorsey, oprichter van Twitter en sinds kort ook weer CEO, het door problemen geplaagde sociale netwerk er weer bovenop wil krijgen. http://fortune.com/fixing-twitter-jack-dorsey Daarnaast heeft de Washington Post een goed stuk over de jeugd van Tim Cook en het verband met zijn strenge houding tegenover privacyschending: The roots of Tim Cook’s activism lie in rural Alabama. http://www.washingtonpost.com/news/the-switch/wp/2016/03/07/in-rural-alabama-the-activist-roots-of-apples-tim-cook/ Tot slot is de necrologie van de New York Times over de uitvinder van e-mail de moeite waard. Het stuk Raymond Tomlinson, Who Put the @ Sign in Email, Is Dead at 74 staat bol van de opvallende en onbekende weetjes over e-mail. http://www.nytimes.com/2016/03/08/technology/raymond-tomlinson-email-obituary.html Feedback? Mail tech@nu.nl
Who Put the Douche in Duchamp with Matthias Young We're very excited to introduce our good friend Matthias Young, guitarist of The Fury and guitar instructor of Atlanta Guitar Clinic, and his new power metal band The Fury to the podcast. Here we get to know his story and have an exhaustive discussion on heavy metal, subgenres, esoteric influences, and the weirdness of the scene. Bach, Brahms, and Beethoven meet Tolkien, Satan, and Gygax. We cover the Metal scene in the Southeast, the present and future of radio, and gaming Spotify royalties. We brainstorm ways to make live classical music more accessible to introductory audiences and talk about backstage hospitality among rock musicians and film scores as modern-day classical music. Matthias shares with us his insight on the process of creating an album and the realities of consensus-created pop music. The Fury's new EP Uncharted Lands is available on iTunes and Spotify. Get guitar lessons at his website atlantaguitarclinic.com.
Celtic Halloween takes over show #180 of the podcast featuring Irish Celtic music from John Williams & Dean Magraw, Bedlam Bards, Jenneth Tolin, Three Weird Sisters, Schiehallion, Marc Gunn, Harpnotic, Karan Casey, Dr. Rev. Mr. Cheeks, Paddy's Pig, New York Brogue, Whalebone, Lothlorien NZ. www.celticmusicpodcast.com If you enjoy this show, then subscribe to our Celtic Music Magazine. This is our free newsletter and your guide to the latest Celtic music and podcast news. Remember to support the artists who support this podcast: buy their CDs, download their MP3s, see their shows, and drop them an email to let them know you heard them on the Irish and Celtic Music Podcast. Today's show is brought to you by Celtic Invasion Vacations Experience travel like you've never done before on Marc Gunn's Celtic Invasion Vacation. You will enjoy a small, friendly group that is one-third the size of most tour groups. Smile, laugh, and sing-along as you enjoy exotic sites around the world, and make lots of wonderful, new memories. Join me in June 2015, when we explore County Donegal and the Giant's Causeway. This exciting adventure will take us to one of the most unvisited parts of Ireland where glorious secret treaures await. Subscribe to the mailing and join the invasion at celticinvasion.com Notes: - Your guide to the Best indie Celtic music online - Thanks to the Patrons of the Podcast over on Patreon. You too can Support the podcast! - Welcome to Gary Hook who is now sharing photos he takes from the Celtic festivals he attends on my Irish & Celtic Music Podcast. - Interview with Jesse Ferguson. Love your feedback - More Celtic Halloween shows on Irish & Celtic Music Podcast - Celtic Halloween Special on YouTube with Marc Gunn - I WANT YOUR FEEDBACK: Post a comment on our Facebook fan page or call 678-CELT-POD to leave a voicemail message. That's 678-235-8763. Or just record an MP3 and send it to celticpodcast@gmail.com This Week in Celtic Music 0:41"Road to Wexford (Jig)" by John Williams & Dean Magrawfrom Raven 5:37"Dark Lady" by Bedlam Bardsfrom Furious Fancies 12:04"Witches Dance" by Jenneth Tollinfrom The Bardic Wyrd 16:03"Draw Down the Moon" by Three Weird Sistersfrom Hair of the Frog 19:57"Killiecrankie" by Schiehallionfrom Killiecrankie 27:16"Isn't It Grand Boys to Be Walking Undead" by Marc Gunnfrom Sci Fi Drinking Songs 30:25"Dark Forest" by Harpnoticfrom Harpnotic 33:38"Who Put the Blood" by Karan Caseyfrom The Winds Begin to Sing 37:53"Brennan on the Moor" by Dr. Rev. Mr. Cheeksfrom Storied Time 42:49"Henry Me Son" by Paddy's Pigfrom Maple & Wire 46:16"Tom Paine's Bones" by New York Broguefrom Live from the Poor Mouth 51:17"King of the Faeries" by Whalebonefrom Rootsy Folky Live and Funky 56:34"The Cruel Mother" by Lothlorien NZfrom Greenwood Side on iTunes Remember too, when you buy through our affiliates at CD Baby, Amazon, or iTunes, you support the artists AND the podcast. The Irish & Celtic Music Podcast was produced by Marc Gunn, The Celtfather. If you enjoyed the music you heard, support the artists in this show. Buy their music. Then tell your friends to visit www.celticmusicpodcast.com
Carole King is one of the great pop songwriters of the 1960s and '70s. Now, her songs — from early novelties such as “Who Put the Bomp” to intimate, soulful compositions such as “So Far Away” and “A Natural Woman” — are on Broadway in the biographical show Beautiful: the Carole King Musical. The show, at the Stephen Sondheim Theatre, stars Jessie Mueller as King, and features a book by Doug McGrath. The director is Marc Bruni. King’s personal story — she started out as Carole Klein from Brooklyn — is told with her songs as signposts along the journey. New York Times theater critic Charles Isherwood lets us know whether that journey is worth an evening in the theater.
Don Kirshner is not exactly a household name, but if you’ve listened to popular music in the last 50 years or so, you’ve probably heard his influence. Who Put the Bomp was one of about 200 songs the music producer helped turn into hits in the late 1950’s and early 1960’s. Don Kirshner, a Bronx native, died in January of last year of heart failure at the age of 76. A new book explores the career of this pop-music hit maker. It’s called Don Kirshner: The Man with the Golden Ear. Author Rich Podolsky is our guest on this week's Cityscape.
Who Put the Zing in the Flash?/Perilous Plan of the Plant-Master tomkaters@gmail.com Music by Dexy's Midnight Runners
Cutting Through the Matrix with Alan Watt Podcast (.xml Format)
--{ Masters of Matter Under Philanthropies Gather: "Philanthropists Running the World it Seems, Guiding Governments, Education Along Certain Schemes, Well Planned by Robber Barons, Long, Long Ago, Advancing Well-Paid 'Experts' Who Put on a Show, These Cunning Crooks with Psychopathic Vitality, Follow Crafty Plan which Alters Perceived Reality, Pretending to be Born to Help World Heal, In Reality, Got Rich from Ability to Steal, Allowing No Competition, Rigid as Deuteronomy, The World is Their Asset, Masters of Monopoly" © Alan Watt }-- 19th Century Media and Advertising, Favourable Write-ups - Robber Barons and P.R. Makeovers as "Philanthropists" - Bankers' "Charitable" Front Organizations - Real Meaning of Democracy - "Socially Conscious" Investments of Elite Billionaires, Elimination of Competition, Priority of "Overpopulation" - United Nations - Carbon Trading of Blood and Gore - Groups Demand what Govt. Wants - Earth-based Religion, Preacher Al Gore. George Soros says China Leads the World - China's One-Child Policy - Private Banks of Soviet Union - GATT Treaty - Western Elite Ownership of China. U.S. Manhunting Agency - Expanding "Terrorism" Laws - Britain, Tyrannical Search and Seizure Powers for Agencies and Councils - Irreparable Tower of Babel. Emotive News Topics, Media-Induced Opinions - Push for Euthanasia - Bernays, Selling Products AND Opinions. International Spy Network and Infiltration - OSS at Chatham House, Shared Intelligence - RIIA-CFR, UN Treaty and Signatories, World Government. (Articles: ["Elites Launch 'Global Impact Investing Network' " by Daniel Taylor (oldthinkernews.com) - Nov. 2, 2009.] ["Gore's spiritual argument on climate" (worldbbnews.com) - Nov. 2, 2009.] ["George Soros: China a 'positive force' " (cnn.com) - June 7, 2009.] ["U.S. Needs Hit Squads, 'Manhunting Agency': Spec Ops Report" by Noah Shachtman (wired.com) - Nov. 3, 2009.] ["Councils get 'Al Capone' power to seize assets over minor offences" by Sean O'Neill (timesonline.co.uk) - Oct. 28, 2009.] ["Irish Independent promotes eugenics and depopulation again" (wiseupjournal.com) - Oct. 30, 2009.] ["Doctors admit to practising 'slow euthanasia' on terminally-ill patients" by Daniel Martin (dailymail.co.uk) - Oct. 29, 2009.]) *Title/Poem and Dialogue Copyrighted Alan Watt - Nov. 5, 2009 (Exempting Music, Literary Quotes, and Callers' Comments)
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