Minnie the Moocher – Cab Calloway

Minnie the Moocher – Cab Calloway

Minnie the Moocher - Cab Calloway

Born Cabell Calloway on December 25th, 1907, in Rochester, New York. He died November 8th of 1994 in Cokebury Village, Delaware.

Involved in show business from an early age, vocalist Calloway was an occasional drummer and MC, working mostly in Baltimore, where he was raised, and Chicago, where he relocated in the late 20s. He worked with his sister Blanche, and then, in 1929, he became frontman for the Alabamians. Engagements with this band took him to New York; in the same year he fronted the Missourians, a band for which he had briefly worked a year earlier.

The Missourians were hired for New York’s Savoy Ballroom; although the band consisted of proficient musicians, there is no doubt that it was Calloway’s flamboyant leadership that attracted most attention. Dressing outlandishly in an eye-catching “Zoot Suit” – knee-length drape jacket, voluminous trousers, huge wide-brimmed hat and a floor-trailing watch chain – he was the centre of attraction. His speech was peppered with hip phraseology and his catch phrase, “Hi-De-Hi”, echoed by the fans, became a permanent part of the language.

The popularity of the band and of its leader led to changes. Renamed as Cab Calloway And His Orchestra, the band moved into the Cotton Club in 1931 as replacement for Duke Ellington, allegedly at the insistence of the club’s Mafia-connected owners. The radio exposure this brought helped to establish Calloway as a national figure.

As a singer Calloway proved difficult for jazz fans to swallow. His eccentricities of dress extended into his vocal style, which carried echoes of the blues, crass sentimentality and cantorial religiosity. At his best, however, as on “Geechy Joe” and “Sunday In Savannah”, which he sang in the 1943 film Stormy Weather, he could be highly effective. His greatest popular hits were a succession of songs, the lyrics of which were replete with veiled references to drugs that, presumably, the record company executives failed to recognize. “Minnie The Moocher” was the first of these, recorded in March 1931 with “Kickin’ The Gong Around”, an expression that means smoking opium, released in October the same year. Other hits, about sexual prowess, were Fats Waller’s “Six Or Seven Times” and the Harold Arlen -Ted Koehler song “Triggeration.”

For the more perceptive jazz fans who were patient enough to sit through the razzmatazz, and what one of his sidemen referred to as “all that hooping and hollering’, Calloway’s chief contribution to the music came through the extraordinary calibre of the musicians he hired. In the earlier band he had the remarkable cornetist Reuben Reeves, trombonist Ed Swayzee, Doc Cheatham and Bennie Payne. As his popularity increased, Calloway began hiring the best men he could find, paying excellent salaries and allowing plenty of solo space, even though the records were usually heavily orientated towards his singing. By the early 40s the band included outstanding players such as Chu Berry, Hilton Jefferson, Milt Hinton, Cozy Cole, and Jonah Jones. Further musicians included Ben Webster, Shad Collins , Garvin Bushell , Mario Bauza , Walter “Foots” Thomas , Tyree Glenn , J.C. Heard and Dizzy Gillespie, making the Calloway band a force with which to be reckoned and one of the outstanding big bands of the swing era.

In later years he worked on the stage in Porgy And Bess and Hello, Dolly!, and took acting roles in films such as The Blues Brothers (1980). His other films over the years included The Big Broadcast (1932), International House (1933), The Singing Kid (1936), Manhattan Merry Go Round (1938), Sensations Of 1945 (1944), St. Louis Blues (1958), The Cincinnati Kid (1965) , and A Man Called Adam (1966). Calloway enjoyed a considerable resurgence of popularity in the 70s with a Broadway appearance in Bubbling Brown Sugar. In the 80s he was seen and heard on stages and television screens in the USA and UK, sometimes as star, sometimes as support but always as the centre of attention. In 1993 he appeared at London’s Barbican Centre, and in the same year celebrated his honorary doctorate in fine arts at the University of Rochester in New York State by leading the 9,000 graduates and guests in a singalong to “Minnie The Moocher”. Calloway died the following year. Bio and picture source…..biography.just-the-swing.com

Got a request?
Want a song dedicated to you?
Please Contact Us at Pasgroup with the song and artist you like, the name you want published and we will do our best to find it.
Nicknames are fine but nothing rude, please.

Stuck In The Middle With You – Stealers Wheel

Stuck In The Middle With You – Stealers Wheel

Stuck In The Middle With You - Stealers Wheel

Although remembered today primarily for one or two songs, Stealers Wheel in its own time bid fair to become Britain’s answer to Crosby, Stills, Nash & Young. Only the chronic instability of their line-up stood in their way after a promising start. Gerry Rafferty (b. Paisley, Scotland, Apr. 16, 1946) and Joe Egan (b. 1946) had first met at school in Paisley when they were teenagers. Rafferty had seen three years of success as a member of the Humblebums before they split up, and he’d started a solo recording career that was still-born with the commercial failure of his album Can I Have My Money Back? (Transatlantic, 1971). He’d employed Egan as a vocalist on the album, along with Roger Brown. Rafferty and Egan became the core of Stealers Wheel, playing guitar and keyboards, although their real talent lay in their voices, which meshed about as well as any duo this side of Graham Nash and David Crosby-Brown joined, and Rab Noakes (guitar, vocals) and Ian Campbell (bass) came aboard in 1972. That line-up, however, lasted only a few months. By the time Stealers Wheel was signed to A&M later that year, Brown, Noakes, and Campbell were gone, replaced by guitarist Paul Pilnick, bassist Tony Williams, and drummer Rod Coombes (ex-Juicy Lucy and future Strawbs alumnus). This band, slapped together at the last moment for the recording of their debut album in 1972, proved a winning combination working behind Rafferty’s and Egan’s voices. The self-titled Stealers Wheel album, produced by Jerry Leiber and Mike Stoller, was a critical and commercial success, yielding the hit “Stuck In The Middle With You” (top 10 in America and the UK). Even this success had its acrimonious side. Rafferty had quit the band by the time Stealers Wheel was released, replaced by Spooky Tooth’s Luther Grosvenor, who stayed with the groupon tour for much of 1973. Delisle Harper also came in for the touring version of the band, replacing Tony Williams. With a viable performing unit backing it, the Stealers Wheel album began selling and made No. 50 in America, while “Stuck In The Middle With You” became a million selling single.
As all of that was happening, the group’s management persuaded Rafferty to come back-whereupon Grosvenor, Combes, and Pilnick left. Having been through a dizzying series of changes in the previous year, Stealers Wheel essentially ended up following a strategy-employed for very different reasons-that paralleled Walter Becker and Donald Fagen in the American band Steely Dan (funny, the similarity in the names, too). Egan and Rafferty became Stealers Wheel, officially a duo with backing musicians employed as needed in the studio and on tour.

There was pressure for more hits. “Everyone Agreed That Everything Will Turn Out Fine” was a modest chart success, the mid-tempo, leisurely paced “Star” somewhat more widely heard, cracking into the top 30 on both sides of the Atlantic. A second album, Ferguslie Park (named for a district in Paisley), completed with session players as per the duo’s plan, barely cracked the top 200 LPs in America (although it was somewhat more popular than that number would indicate, among college students), and that would lead to a poisonous internal situation for the duo, as the pressure on them became even greater. In fact, the record was first rate, made up of lively, melodic, inventive pop-rock songs.

The commercial failure of the second album created a level of tension that all but destroyed the partnership between Egan and Rafferty. Coupled with the departure of Leiber and Stoller, who were having business problems of their own, and the inability of the duo to agree on a complement of studio musicians to help with the next album, Stealers Wheel disappeared for 18 months. Ironically, the contractually mandated final album, Right Or Wrong, that emerged at that time came out a good deal more right than anyone could have predicted, given the circumstances of its recording. The group had ceased to exist by the time it was in stores.

The break-up of Stealers Wheel blighted Rafferty’s and Egan’s careers for the next three years, as legal disputes with their respective managements prevent either man from recording. After these problems were settled, Egan made a pair of albums for the European-based Ariola label. Rafferty, in the meantime, emerged as a recording star with a mega-hit in 1978 in the form of “Baker Street” and the album City To City.

Stealers Wheel disappeared after 1975, its name and identity retired forever by its two owners (although, ironically, Rafferty did an album in the mid-1990’s, Over My Head, on which he re-invented several Stealers Wheel-era song that he’d co-written with Egan. He and Egan have both made records that refer in lyrics to the troubled history of Stealers Wheel, immortalizing their acrimonious history even as at least three best-of European collections of Stealers Wheel material immortalize their music, and “Stuck In The Middle With You” remains a popular ’70s oldie, revived most recently on the soundtrack of Quentin Tarantino’s movie Reservoir Dogs, and was recut by the Jeff Healy Band.

Bio source and picture…….www.sing365.com

Got a request?
Want a song dedicated to you?
Please Contact Us with the song and artist you like, the name you want published and we will do our best to find it.
Nicknames are fine but nothing rude, please

 

 

Dean Martin and The Andrews Sisters

Dean Martin and The Andrews Sisters

Dean Martin and The Andrews Sisters

IN THE COOL, COOL, COOL OF THE EVENING: From the mid-1960s to the early 1970s, The Dean Martin Show held sway as the toniest spot on the television dial. In the final hour of prime-time each and every Thursday, the party was getting a glow on, and singing filled the air. In the shank of the night, they were doing it right, and much of America was there.
But the second major attempt to recapture the magic of this hippest-of-hip series and bottle it for home video has drawn lukewarm reviews at best and ignited a firestorm of fury among fans. In the piece that follows, we cover the heat, but also endeavor to shed additional light, on the subject at hand.

“Wonderful, Wonderful Television.”

It’s the title lyric of one of those catchy jingles that served to introduce an assortment of regular segments that appeared on The Dean Martin Show during the course of its 9-year run from 1965-74 — indeed, the refrain pops up several times on the new 6-DVD Best of The Dean Martin Variety Show: Collector’s Edition recently released by Time-Life — and it’s a phrase that aptly sums up the high levels of both esteem and affection with which Dean’s original landmark series is regarded by its millions of fans throughout the world.

But with a substantial portion of the sweet sounds that once emanated from this finely-tuned instrument muted in the new Time-Life treasury drawn from the vaults of the network that first brought us the series, NBC, many are left to wonder what happened to so much of what made the show so great in the first place — the musical content.

A finale to the 9/29/66 episode that ended with Dean, The Andrews Sisters, Lainie Kazan, Tim Conway and Frank Gorshin, gathered ’round a piano — played by no less than Duke Ellington — to sing “Swingin‘ Down The Lane”.

Info source…..thegolddiggers.wordpress.com

Picture source…..deangoldsanddings.wordpress.com

Got a request?
Want a song dedicated to you?
Please Contact Us with the song and artist you like, the name you want published and we will do our best to find it.
Nicknames are fine but nothing rude, please.

Bite the Bullet – Common Phrases

Bite the Bullet – Common Phrases

Bite the Bullet - Common Phrases

Meaning:
Accepting something difficult or unpleasant.

Most say it came from …
When engaged in war there are times when emergency surgery is needed: Legs have to come off or deeply-buried bullets need to come out. And sometimes, there’s no time for anesthesia when the Nazis are bearing down.

So, rather then stabbing a patient in the arm to distract him from the saw going through his foot, the surgeon would supposedly shove a bullet in his mouth and ask him to bite down. Of course, you could use a belt or shirt but even in the throes of death it’s important for a man to look like a badass. Thus, “Bite the bullet.”

So is that true?
All signs point to yes. And thank God for that, as we would hate to think that a soldier being operated on with no medication in the middle of a battle is some kind of cloth biter.

But, notice how we said “All signs point to yes” and not a definitive “yes.” Nailing down the origins of these sayings is an inexact science. The only other popular theory has to do with the preparation of bullet before firing (in old carbine rifles, you had to bite a paper cap off the cartridge so the spark could reach the gun powder).

That one would of course make no sense, since no one would equate that task with resolutely doing something unpleasant. You might as well say it’s about that dude who claimed to catch bullets out of the air in his teeth. In fact, let’s just go with that one.

Info source…..www.cracked.com

Picture source…..24.media.tumblr.com

For Heaps More Funnies visit our Website

Little Red Riding Hood – Sam the Sham and the Pharaohs

Little Red Riding Hood – Sam the Sham and the Pharaohs

Little Red Riding Hood - Sam the Sham and the Pharaohs

Sam the Sham and The Pharaohs were a 60s Tex-Mex rock ‘n’ roll band. The group was formed by lead singer Domingo “Sam” Samudio in 1961 in Dallas, Texas, USA. The other original members were Carl Medke, Russell Fowler, Omar “Big Man” Lopez, and Vincent Lopez. The original line-up only recorded one record which failed to sell. They broke up in late 1962. Samudio went on to become an organist for the rock group Andy and the Knight riders.

Samudio resurrected The Pharaohs in 1963. The new line-up was Samudio (vocals/organ), Dave Martin (bass), Ray Stinnet (guitar), Jerry Patterson (drums), and Butch Gibson (saxophone). They made their debut with the novelty number “Haunted House” and signed up with the MGM music label. The follow-up songs “Ju Ju Hand” and “Ring Dang Do” were minor chart successes. The band scored their greatest smash hit with the wonderfully raucous “Wooly Bully,” which sold over three million copies and stayed on the Billboard Top 40 charts for 18 weeks (the song peaked at #2 on the pop charts). “Wooly Bully” was named Record of the Year for 1965 by “Billboard” magazine. The bubbly “Li’l Red Riding Hood” likewise did very well; it peaked at #2 on the Billboard pop charts for two weeks straight. The group went on to record more enjoyably frothy novelty singles, but none of them were as successful as either “Wooly Bully” or “Li’l Red Riding Hood.” The band appear as themselves in the musical When the Boys Meet the Girls (1965). Sam the Sham and The Pharaohs disbanded in 1967.

A true rock ‘n’ roll classic, “Wooly Bully” was featured on the soundtracks to the films Wild Country (2005), Mistah (1994), Full Metal Jacket(1987), Baby It’s You (1983), and More American Graffiti (1979). Domingo Samudio went on to contribute two self-penned songs for the soundtrack to The Border (1982), starring Jack Nicholson. Samudio is now a motivational speaker who still makes occasional live concert appearances as well as continues to write both songs and poetry.

Bio source…..www.imdb.com

Picture source…..3.bp.blogspot.com

Got a request?
Want a song dedicated to you?
Please Contact Us with the song and artist you like, the name you want published and we will do our best to find it.
Nicknames are fine but nothing rude, please.

 

 

The Night Chicago Died – Paper Lace

The Night Chicago Died – Paper Lace

The Night Chicago Died - Paper Lace

Formed in 1969 in Nottingham, England, and made up of Michael Vaughn, Chris Morris, Carlo Santana, Cliff Fish, and Phillip Wright, Paper Lace was one of hundreds of pop bands in England looking for the big time while slogging their way through small club gigs and brief television appearances.

Their big break came in 1974 when their version of the tear-jerking bubblegum tune “Billy, Don’t Be a Hero” won top honours on Opportunity Knocks, a nationwide talent-show on ITV. They rode that song all the way to the top of the U.K. charts but were aced out of any sales in the U.S. by Bo Donaldson & the Haywood’s’ transcendent version.

Their next single, “The Night Chicago Died,” did manage to hit the number one slot on the U.S. charts (number three in the U.K.) and then that was it. The group released two albums, Paper Lace and Other Bits of Material in 1974 and First Edition in 1975, and did a quick fade from the public eye. In 1978 they surfaced briefly with a sing-along version of “We’ve Got the Whole World in Our Hands” with their local football team, Nottingham Forest FC, and the disappeared forever.

Info source…..www.allmusic.com

Picture source…..www.lynpaulwebsite.org

Got a request?
Want a song dedicated to you?
Please Contact Us with the song and artist you like, the name you want published and we will do our best to find it.
Nicknames are fine but nothing rude, please.

 

 

Lady Willpower – Gary Puckett and The Union Gap

Lady Willpower – Gary Puckett and The Union Gap

Lady Willpower - Gary Puckett and The Union Gap

Gary Puckett and The Union Gap (initially credited as The Union Gap featuring Gary Puckett) was an American pop rock group operating in the late 1960s.

Their biggest hits were “Woman, Woman,” “Young Girl,” and “Lady Willpower.” Singer Gary Puckett (born October 17, 1942, Hibbing, Minnesota) grew up in Yakima, Washington – close to the city of Union Gap – and Twin Falls, Idaho.

He began playing guitar in his teens, and graduated from Twin Falls High School before attending college in San Diego, California. There, he quit college and played in several local bands before joining the Outcasts, a local hard rock group comprising bassist Kerry Chater (born August 7, 1945, Vancouver, British Columbia, Canada),[1] keyboardist Gary ‘Mutha’ Withem (born August 22, 1946, San Diego), tenor saxophonist Dwight Bement (born December 28, 1945, San Diego), and drummer Paul Wheatbread (born February 8, 1946, San Diego).
In 1966, the band toured the Pacific Northwest without Wheatbread, who was recruited as the house drummer on the television series, Where the Action Is; he later rejoined the line-up. Under manager Dick Badger, the band were renamed The Union Gap in early 1967, and fitted themselves out with Union Army-style Civil War uniforms as a visual gimmick. They then recorded a demo, which was heard by CBS record producer and songwriter Jerry Fuller. Impressed by Puckett’s baritone voice and the band’s soft rock leanings, Fuller signed them to a recording contract with Columbia Records.

Biography source…..www.last.fm

Picture source…..www.last.fm

Got a request?
Want a song dedicated to you?
Please Contact Us with the song and artist you like, the name you want published and we will do our best to find it.
Nicknames are fine but nothing rude, please.

The History of Some of Today’s Most Common Phrases

The History of Some of Today’s Most Common Phrases

Why Do We Say It?

Some of our most common phrases were once thought to be low, vulgar and base. The rise of the criminal class as a vital piece of Elizabethan society prompted, among other things, the introduction of a new language. While the words remained English, the phraseology changed, and so did the meaning. Thus, a cove became a man rather than a secluded beach, flash meant the appearance of high society or wealth (a flash cove therefore was a rich man), and so on and so forth. But as time drew on, some of the phrases lost the stigma of criminal use and were accepted into the language of everyday people.

In 1785, etymologist Francis Grose produced The Vulgar Tongue, a dictionary of slang, sea-terms, thieves’ cant and other less-savory phrases. His point, in doing so, was to educate those in higher society as to what some of the phrases heard at cock-fights and bear-baiting really meant. The result, however, is a wonderful snapshot in linguistic time, a resource unequalled in its richness and history. From his work we can draw the history of some of our most common phrases today.

Check out these Phrases at…..voices.yahoo.com

For Heaps More Funnies visit our Website

Lets Just Kiss And Say Goodbye – The Manhattans

Lets just kiss and say goodbye – The Manhattans

Lets Just Kiss And Say Goodbye - The Manhattans

The Manhattans were formed in the early 60s in New Jersey as a quintet led by writer/bass vocalist Winfred “Blue” Lovett and emotive lead singer George Smith, along with Edward “Sonny” Bivins, Richard “Ricky” Taylor and Kenneth “Wally” Kelly, all of whom had just returned from service in the armed forces.

The group was popular regionally and had minor national success on the strength of some solid recordings for Carnival Records (their version of the country tune “From Atlanta to Goodbye” was a gem) in the late 60s before gaining the attention of Columbia Records in 1970.  Unfortunately, their Columbia signing coincided with the sudden illness and untimely death of lead singer Smith.  During a tour through North Carolina, the Manhattans came upon a college student with an amazing Sam Cooke-like voice.  Recognizing the incredible talent of this 21 year old, the group invited Gerald Alston to join, and he became the lead singer who would bring stardom to the quintet.

After “Kiss and Say Goodbye,” the Manhattans spent the remainder of the decade scoring almost exclusively on the R&B charts.  Then in 1980, they again surprised the Pop world, crossing over for a Pop top 10 hit with their loping 1980 ballad, “Shining Star.”  The group continued to record through the 80s, hitting on the Soul charts with such hits as “Crazy” and “Honey Honey.”  Their last album for Columbia records was the wonderful but overlooked 1986 disc, Back To Basics, produced in part by Bobby Womack and featuring a young Regina Belle singing background vocals.  Unfortunately, the Manhattans’ smooth, adult soul style seemed out of place in the frenetic, electric funk sounds dominating late 80s music, and they were dropped by Columbia records in 1987.

Read more…..www.soultracks.com

Picture source…..garycape.com

Got a request?
Want a song dedicated to you?
Please Contact Us with the song and artist you like, the name you want published and we will do our best to find it.
Nicknames are fine but nothing rude, please.

 

Woman, Woman – Gary Puckett And The Union Gap

Woman, Woman – Gary Puckett And The Union Gap

Young Girl - Gary Puckett & The Union Gap

Gary Puckett & The Union Gap (initially credited as The Union Gap featuring Gary Puckett) was an American pop rock group operating in the late 1960s.

Their biggest hits were “Woman, Woman,” “Young Girl,” and “Lady Willpower.” Singer Gary Puckett (born October 17, 1942, Hibbing, Minnesota) grew up in Yakima, Washington – close to the city of Union Gap – and Twin Falls, Idaho.

He began playing guitar in his teens, and graduated from Twin Falls High School before attending college in San Diego, California. There, he quit college and played in several local bands before joining the Outcasts, a local hard rock group comprising bassist Kerry Chater (born August 7, 1945, Vancouver, British Columbia, Canada),[1] keyboardist Gary ‘Mutha’ Withem (born August 22, 1946, San Diego), tenor saxophonist Dwight Bement (born December 28, 1945, San Diego), and drummer Paul Wheatbread (born February 8, 1946, San Diego).
In 1966, the band toured the Pacific Northwest without Wheatbread, who was recruited as the house drummer on the television series, Where the Action Is; he later rejoined the line-up. Under manager Dick Badger, the band were renamed The Union Gap in early 1967, and fitted themselves out with Union Army-style Civil War uniforms as a visual gimmick. They then recorded a demo, which was heard by CBS record producer and songwriter Jerry Fuller. Impressed by Puckett’s baritone voice and the band’s soft rock leanings, Fuller signed them to a recording contract with Columbia Records.

Biography source…..www.last.fm

Picture source…..www.last.fm

Got a request?
Want a song dedicated to you?
Please Contact Us with the song and artist you like, the name you want published and we will do our best to find it.
Nicknames are fine but nothing rude, please.