VIC OH! VIC AH! The Varsity Drag Ted Lewis Lonesome Me George Olsen Lucky Day Broadway Nitelites Doin' The Raccoon Ted Weems Parker Gibbs Marvelous Nat Shilkret Clap Yo' Hands Roger Wolfe Kahn. These Foolish Things Yvette Body And Soul Connee Boswell Stardust Yvette Say No More The Charioteers Tenderly Joe Reichman Cross Your Heart Tito Guizar Bach Bay Blues The New Friends Of Rhythm. Frank Sinatra I'm Making Believe Sarah Vaughn Laura The Charioteers Out Of Nowhere Lee Simms Without A Song Lena Horne Mood Indigo Duke Ellington Woodland Symphony Alvino Rey Please Be Kind Bing Crosby.
Roumania James P. Jame s P. The Cuban Cabby Who'll Take My Place? Rudolf Charles Friml was born Dec. The musical 'Sometime' featured the song 'Sometime' and another song 'Any Kind Of Man' which Mae West used as a vehicle to introduce the shimmy, much to audience's delight - as well as Rudolph Friml. Leola Lucey and Charles Hart recorded this song in The Blue Kitten opened in Rudolf Friml was one of the best known composers for operetta - this disc features music from 'Katinka', 'The Firefly' and 'The Vagabond King".
Allah's Holiday was one of the most popular tunes from Katinka. Tracks 1, 4, and 8 are from the Friml red seal Victor set recorded in by the Victor Salon Group. Ben Frankel's swinging dance version, recorded in , is an amazing adaptation of this music. There he acted in college theatrical productions and composed music for productions of the Oxford University Dramatic Society, of which he was a founder, and the Phil-Thespian Club.
His first theatre work was Mummies and Marriage , an operetta produced by amateurs in At the age of 29, in , he finally managed to place the song "What will you have to Drink?
After this, his songs were included in several other London shows. Monckton soon became a regular composer and sometimes lyricist of songs for the very successful series of frothy musical comedies performed at London's Gaiety Theatre , under the management of George Edwardes , which premiered throughout the s and into the first decade of the 20th Century.
Monckton's songs continued to be performed long after the shows closed — some of them remaining popular into the s. She starred in many of Monckton's shows, and he wrote some of his most popular songs for her, although their marriage was not a happy one for many years.
She later sought a divorce from Monckton, which he refused. Does the music rock you? This is the story of how rock was forged as a musical style in Britain by means of cultural transatlantic transmissions, call and response, a multicultural melting pot which thrived and developed, bubbling up from the underground in the face of hostility from most of the British Establishment. This is the basis of the musical experience.
Lomax was referring generally to the purest, rawest, most unrefined ingredient of rock — traditional folk music and dance, music created by, and emanating from, the bottom. Less told, if ever wholly, is the narrative of how rock developed in Britain.
Through a series of 43 mixes, my aim is to present the experience as it unfolded up to on the largest island of the North Atlantic archipelago just off the coast of north-western Europe. The caller in a ceilidh or barn dance fulfils the same leader function, and the chorus steps to it. For those not music-making, the calls are made by performers, provoking an audience response.
Others see embracing the folk devil as sticking two fingers up to the establishment, and positively answer the call by joining the cult… which may eventually grow to become a mainstream commodity, with the money men raking in the profits. From the s to , most of the calls, the transmissions were sent mostly one way: from the Americas and Caribbean, to be received in Britain and elsewhere. One watershed year was , when hot jazz record clubs across the country were treated to UK-issued shellac discs spinning at 78 revolutions a minute of Bessie Smith, Memphis Jug Band and other raw blues and jazz, much of it recorded a decade earlier but hitherto not making it out of the Deep South.
In , informed by fragments of country-blues, folk, calypso, and old-style New Orleans jazz relayed across the Atlantic, hundreds of thousands of people in Britain participated in the short-lived skiffle boom, a DIY music form with the same ethics underlying the indie scene of the s.
As the s began, this time assimilating TV and western film theme music, and surf and hot rod themes, the Shadows led a mass movement of instrumental guitar bands, exploring new textures and dimensions without words.
From early and the so-called British Invasion of America , the calls and responses feverishly gushed both ways. By , Scottish folk singer Donovan Leitch was referring to taking a trip and sugar cubes in his B-side Hey Gyp, Dig The Slowness, while musicians on both sides of the Atlantic fused the known with the unknown by means of fuzzbox and wah-wah pedals, and primeval howls.
He travelled the world making field recordings of music and devised a method of measuring vocal, instrumental and physical dance movements known as cantometrics for song and choreometrics for dance. His scientific study and means of measuring hundreds of musical styles worldwide was only made possible by new technology — the portable tape recorder.
For centuries, folk — the music and dance of the common people in every culture — had been transmitted mainly by direct experience, in the vernacular, not written down or otherwise recorded. The flotsam and jetsam of foreign influences being assimilated and appropriated into a musical style through trade, invasion, visitors, settlers, or the spoils of war, led to certain shared characteristics.
Lomax found many similarities between African and European music, which shared a common ancestor: what he termed the Old High Culture of the Near East, which seeped up from Spain, the Mediterranean, and the Balkans… and onwards through most of Europe and reached England via Italy, Spain, France and Ireland. As for Wales, with Brittany, Alpine regions, Scandinavia and the remoter lands behind mountains, Lomax classified as Old European: the peculiar Welsh musical and lyrical metres, male voice choirs, Eisteddfods — elaborate competitions to choose anointed bards conforming to standards — closed cultures that had remained relatively untouched by the broad sweep of the Old High Culture.
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