Verve Records known as The Verve Music Group, founded in 1956 by Norman Granz, is home to the world's largest jazz catalogue and includes recordings by artists such as Ella Fitzgerald, Nina Simone, Stan Getz and Billie Holiday, among others. It absorbed the catalogues of Granz's earlier labels, Clef Records, founded in 1946, Norgran Records, founded in 1953, material licensed to Mercury Records. Verve served as the original home of rock music acts such as The Velvet Underground, Frank Zappa and The Mothers of Invention; the restructured Verve Records is now part of the Verve Label Group, owned by Universal Music Group. This company is home to historic imprints including Verve Forecast Records, Impulse! Records and Decca Records. Norman Granz created Verve to produce new recordings by Ella Fitzgerald; the catalog grew throughout the 1950s and 1960s to include Charlie Parker, Bill Evans, Stan Getz, Billie Holiday, Oscar Peterson, Ben Webster, Lester Young. By 1960, Granz neared retirement. Milton Rudin, his attorney, knew that Sinatra wanted his own label.
Sinatra and Granz made a handshake deal, but negotiations broke down over price and Sinatra's desire that Granz remain head of the label. Granz sold Verve to MGM in 1961. Sinatra hired Mo Ostin, an executive at Verve, to run it. At Verve, Creed Taylor was made head producer. Taylor adopted a more commercial approach, he brought bossa nova to America with the release of Jazz Samba by Stan Getz and Charlie Byrd, Getz/Gilberto, Rain Forest by Walter Wanderley. Verve's notable arrangers included Oliver Nelson. According to Ogerman in Jazzletter, he arranged 60–70 albums for Verve from 1963–1967. In 1964, Taylor supervised the creation of a folk music subsidiary named Verve Folkways renamed Verve Forecast. Taylor left Verve in 1967 to form CTI Records. Aside from jazz, Verve's catalogue included the Righteous Brothers, the Velvet Underground, Frank Zappa & the Mothers of Invention, Rare Earth, the Blues Project, as well as a series of "Sound Impressions of an American on Tour" records, produced in cooperation with Esquire Magazine.
While the Velvet Underground's records did not sell well they went on to become a major influence in independent rock music. Their debut album, The Velvet Underground & Nico, is hailed as one of the greatest records of all time while their second album, White Light/White Heat, has a major cult following for its bold, noisy sound and poetically provocative lyricism. In the 1970s, Verve became part of PolyGram, incorporating the Mercury/EmArcy jazz catalog, which Philips, part owners of PolyGram, had earlier acquired. Verve Records became the Verve Music Group after PolyGram was merged with Seagram's Universal Music Group in 1999; the jazz holdings from the merged companies were folded into this sub-group.in 1990, British group Talk Talk signed to Polydor after conflicts with their previous label EMI regarding a lack of commercial allure on their fourth album, Spirit of Eden. Their fifth and final album, Laughing Stock, was released through Verve on September 16, 1991 and, while being divisive at the time, has since been reconsidered by critics and fans as their masterpiece and a precursor to the post-rock movement.
In the 1990s, as part of PolyGram Classics and Jazz, Verve signed Herbie Hancock, Wayne Shorter, Joe Henderson, Roy Hargrove, John Scofield, Shirley Horn, Betty Carter, Abbey Lincoln, Chris Botti, Jeff Lorber, Gino Vannelli, Art Porter, Will Downing, Incognito. When Universal and Polygram merged in 1998, Verve's holdings were merged with Universal's GRP Recording Company to become Verve Music Group. After forays into Americana and adult contemporary music, Verve was corporately aligned with Universal Music Enterprises, was no longer a stand-alone label within UMG; the Verve imprint itself manages much of the jazz catalog that once belonged to PolyGram, while the Impulse! Records imprint manages the portion of Universal's catalog, acquired from ABC Records, which itself includes the jazz catalog of the Famous Music Group, once owned by Paramount Pictures/Gulf+Western, but, sold to ABC in 1974. Meanwhile, GRP manages the rest of MCA/Universal's jazz catalog, including releases once issued on the Decca and Chess labels.
The Verve Label Group has expanded its output beyond jazz to include crossover classical music, progressive pop and show tunes. In 2016, the newly-formed Verve Label Group appointed industry veteran Danny Bennett as its president and CEO. Official site Article about Creed Taylor
Japan is an island country in East Asia. Located in the Pacific Ocean, it lies off the eastern coast of the Asian continent and stretches from the Sea of Okhotsk in the north to the East China Sea and the Philippine Sea in the south; the kanji that make up Japan's name mean "sun origin", it is called the "Land of the Rising Sun". Japan is a stratovolcanic archipelago consisting of about 6,852 islands; the four largest are Honshu, Hokkaido and Shikoku, which make up about ninety-seven percent of Japan's land area and are referred to as home islands. The country is divided into 47 prefectures in eight regions, with Hokkaido being the northernmost prefecture and Okinawa being the southernmost one; the population of 127 million is the world's tenth largest. 90.7 % of people live in cities. About 13.8 million people live in the capital of Japan. The Greater Tokyo Area is the most populous metropolitan area in the world with over 38 million people. Archaeological research indicates; the first written mention of Japan is in Chinese history texts from the 1st century AD.
Influence from other regions China, followed by periods of isolation from Western Europe, has characterized Japan's history. From the 12th century until 1868, Japan was ruled by successive feudal military shōguns who ruled in the name of the Emperor. Japan entered into a long period of isolation in the early 17th century, ended in 1853 when a United States fleet pressured Japan to open to the West. After nearly two decades of internal conflict and insurrection, the Imperial Court regained its political power in 1868 through the help of several clans from Chōshū and Satsuma – and the Empire of Japan was established. In the late 19th and early 20th centuries, victories in the First Sino-Japanese War, the Russo-Japanese War and World War I allowed Japan to expand its empire during a period of increasing militarism; the Second Sino-Japanese War of 1937 expanded into part of World War II in 1941, which came to an end in 1945 following the Japanese surrender. Since adopting its revised constitution on May 3, 1947, during the occupation led by SCAP, the sovereign state of Japan has maintained a unitary parliamentary constitutional monarchy with an Emperor and an elected legislature called the National Diet.
Japan is a member of the ASEAN Plus mechanism, UN, the OECD, the G7, the G8, the G20, is considered a great power. Its economy is the world's third-largest by nominal GDP and the fourth-largest by purchasing power parity, it is the world's fourth-largest exporter and fourth-largest importer. Japan benefits from a skilled and educated workforce. Although it has renounced its right to declare war, Japan maintains a modern military with the world's eighth-largest military budget, used for self-defense and peacekeeping roles. Japan is a developed country with a high standard of living and Human Development Index, its population enjoys the highest life expectancy and third lowest infant mortality rate in the world, but is experiencing issues due to an aging population and low birthrate. Japan is renowned for its historical and extensive cinema, influential music industry, video gaming, rich cuisine and its major contributions to science and modern technology; the Japanese word for Japan is 日本, pronounced Nihon or Nippon and means "the origin of the sun".
The character nichi means "sun" or "day". The compound therefore means "origin of the sun" and is the source of the popular Western epithet "Land of the Rising Sun"; the earliest record of the name Nihon appears in the Chinese historical records of the Tang dynasty, the Old Book of Tang. At the end of the seventh century, a delegation from Japan requested that Nihon be used as the name of their country; this name may have its origin in a letter sent in 607 and recorded in the official history of the Sui dynasty. Prince Shōtoku, the Regent of Japan, sent a mission to China with a letter in which he called himself "the Emperor of the Land where the Sun rises"; the message said: "Here, I, the emperor of the country where the sun rises, send a letter to the emperor of the country where the sun sets. How are you". Prior to the adoption of Nihon, other terms such as Yamato and Wakoku were used; the term Wa is a homophone of Wo 倭, used by the Chinese as a designation for the Japanese as early as the third century Three Kingdoms period.
Another form of Wa, Wei in Chinese) was used for an early state in Japan called Nakoku during the Han dynasty. However, the Japanese disliked some connotation of Wa 倭, it was therefore replaced with the substitute character Wa, meaning "togetherness, harmony"; the English word Japan derives from the historical Chinese pronunciation of 日本. The Old Mandarin or early Wu Chinese pronunciation of Japan was recorded by Marco Polo as Cipangu. In modern Shanghainese, a Wu dialect, the pronunciation of characters 日本; the old Malay word for Japan, Japun or Japang, was borrowed from a southern coastal Chinese dialect Fukienese or Ningpo – and this Malay word was encountered by Portuguese traders in Southeast Asia in the 16th century. These Early Portuguese traders brought the word
William Thomas Strayhorn was an American jazz composer, pianist and arranger, best remembered for his long-time collaboration with bandleader and composer Duke Ellington that lasted nearly three decades. His compositions include "Take the'A' Train", "Chelsea Bridge", "A Flower Is a Lovesome Thing", "Lush Life". Strayhorn was born in Ohio, his family soon moved to the Homewood section of Pennsylvania. However, his mother's family was from Hillsborough, North Carolina, she sent him there to protect him from his father's drunken sprees. Strayhorn spent many months of his childhood at his grandparents' house in Hillsborough. In an interview, Strayhorn said that his grandmother was his primary influence during the first ten years of his life, he first became interested in music while living with her, playing hymns on her piano, playing records on her Victrola record player. Strayhorn returned to Pittsburgh, attended Westinghouse High School attended by Erroll Garner and Ahmad Jamal. In Pittsburgh, he began his musical career, studying classical music for a time at the Pittsburgh Music Institute, writing a high school musical, forming a musical trio that played daily on a local radio station, while still in his teens, composing the songs "Life Is Lonely", "My Little Brown Book", "Something to Live For".
While still in grade school, he worked odd jobs to earn enough money to buy his first piano. While in high school, he played in the school band, studied under the same teacher, Carl McVicker, who had instructed jazz pianists Erroll Garner and Mary Lou Williams. By age 19, he was writing for Fantastic Rhythm. Though classical music was Strayhorn's first love, his ambition to become a classical composer was shot down by the harsh reality of a black man trying to make it in the classical world, which at that time was completely white. Strayhorn was introduced to the music of pianists like Art Tatum and Teddy Wilson at age 19; these musicians guided him into the realm of jazz. His first jazz exposure was in a combo called the Mad Hatters. Strayhorn's fellow students, guitarist Bill Esch and drummer Mickey Scrima influenced his move towards jazz, he began writing arrangements for Buddy Malone's Pittsburgh dance band after 1937, he met Duke Ellington in December 1938, after an Ellington performance in Pittsburgh.
Here he first told, showed the band leader how he would have arranged one of Duke's own pieces. Ellington was impressed enough to invite other band members to hear Strayhorn. At the end of the visit, he arranged for Strayhorn to meet him. Strayhorn worked for Ellington for the next quarter century as an arranger, occasional pianist and collaborator until his early death from cancer; as Ellington described him, "Billy Strayhorn was my right arm, my left arm, all the eyes in the back of my head, my brain waves in his head, his in mine." Strayhorn's relationship with Ellington was always difficult to pin down: Strayhorn was a gifted composer and arranger who seemed to flourish in Duke's shadow. Ellington was arguably a father figure and the band was affectionately protective of the diminutive, mild-mannered, unselfish Strayhorn, nicknamed by the band "Strays", "Weely", "Swee' Pea". Ellington may have taken advantage of him, but not in the mercenary way in which others had taken advantage of Ellington.
Though Duke Ellington took credit for much of Strayhorn's work, he did not maliciously drown out his partner. Ellington would make jokes onstage like, "Strayhorn does a lot of the work but I get to take the bows!" On the other hand, Ellington did not oppose his publicists' crediting him without any mention of Strayhorn, despite the latter's attempts to hide his dissatisfaction, "Strayhorn revealed", at least to his friends, "a deepening well of unease about his lack of public recognition as Ellington's prominence grew."Strayhorn composed the band's best known theme, "Take the'A' Train", a number of other pieces that became part of the band's repertoire. In some cases Strayhorn received attribution for his work such as "Lotus Blossom", "Chelsea Bridge", "Rain Check", while others, such as "Day Dream" and "Something to Live For", were listed as collaborations with Ellington or, in the case of "Satin Doll" and "Sugar Hill Penthouse", were credited to Ellington alone. Strayhorn arranged many of Ellington's band-within-band recordings and provided harmonic clarity and polish to Duke's compositions.
On the other hand, Ellington gave Strayhorn full credit as his collaborator on larger works such as Such Sweet Thunder, A Drum Is a Woman, The Perfume Suite and The Far East Suite, where Strayhorn and Ellington worked together. Strayhorn often sat in on the piano with the Ellington Orchestra, both live and in the studio. Detroit Free Press music critic Mark Stryker concludes that the work of Strayhorn and Ellington in Anatomy of a Murder is "indispensable... too sketchy to rank in the top echelon among Ellington-Strayhorn masterpiece suites like Such Sweet Thunder and The Far East Suite, but its most inspired moments are their equal." Film historians have recognized the soundtrack "as a landmark -- the first significant Hollywood film music by African Americans comprising non-diegetic music, that is, music whose source is not visible or implied by action in the film, like an
Clap Hands, Here Comes Charlie!
Clap Hands, Here Comes Charlie! is a 1961 studio album by Ella Fitzgerald, with a jazz quartet led by Lou Levy. The liner notes are by Benny Green of the London Observer. For the 1961 Verve LP album, Verve V-4053 & V6-4053 Side One: "A Night in Tunisia" – 4:06 "You're My Thrill" – 3:35 "My Reverie" – 3:16 "Stella by Starlight" – 3:17 "'Round Midnight" – 3:28 "Jersey Bounce" – 3:33 "Signing Off" – 3:45Side Two: "Cry Me a River" – 4:13 "This Year's Kisses" – 2:14 "Good Morning Heartache" – 4:17 " Born to Be Blue" – 2:42 "Clap Hands! Here Comes Charlie!" – 2:41 "Spring Can Really Hang You Up the Most" – 6:13 "The Music Goes Round and Round" – 2:27Bonus Tracks. L. S. T. 1994 835 646 - 4 15. "The One I Love" – 2:12 16. "I Got a Guy" – 3:43 17. "This Could Be the Start of Something Big" – 2:43 Tracks 1 to 14.
The Rolling Stone Album Guide
The Rolling Stone Album Guide known as The Rolling Stone Record Guide, is a book that contains professional music reviews written and edited by staff members from Rolling Stone magazine. Its first edition was published in 1979 and its last in 2004; the guide can be seen at Rate Your Music, while a list of albums given a five star rating by the guide can be seen at Rocklist.net. The Rolling Stone Record Guide was the first edition of what would become The Rolling Stone Album Guide, it was edited by Dave Marsh and John Swenson, included contributions from 34 other music critics. It is divided into sections by musical genre and lists artists alphabetically within their respective genres. Albums are listed alphabetically by artist although some of the artists have their careers divided into chronological periods. Dave Marsh, in his Introduction, cites as precedents Leonard Maltin's book TV Movies and Robert Christgau's review column in the Village Voice, he gives Tape Guide as raw sources of information.
The first edition included black and white photographs of many of the covers of albums which received five star reviews. These titles are listed together in the Five-Star Records section, coincidentally five pages in length; the edition included reviews for many comedy artists including Lenny Bruce, Lord Buckley, Bill Cosby, The Firesign Theatre, Spike Jones, Richard Pryor. Comedy artists were listed in the catch-all section "Rock, Soul and Pop", which included the genres of folk, bluegrass and reggae, as well as comedy. Traditional pop performers were not included, with the notable exceptions of Frank Sinatra and Nat King Cole. Included too were some difficult-to-classify artists. Big band jazz was handled selectively, with certain band leaders omitted, while others were included. Many other styles of jazz did appear in the Jazz section; the book was notable for the time in the provocative, "in your face" style of many of its reviews. For example, writing about Neil Young's song, "Down by the River", John Swenson described it both as an "FM radio classic", as a "wimp anthem".
His colleague, Dave Marsh, in reviewing the three albums of the jazz fusion group Chase, gave a one-word review: "Flee.". Introduction Rock, Soul and Pop Blues Jazz Gospel Anthologies and Original Casts Five-Star Records Glossary Selected Bibliography The guide employs a five star rating scale with the following descriptions of those ratings: Indispensable: a record that must be included in any comprehensive collection Excellent: a record of substantial merit, though flawed in some essential way. Good: a record of average worth, but one that might possess considerable appeal for fans of a particular style. Mediocre: a record, artistically insubstantial, though not wretched. Poor: a record where technical competence is at question or it was remarkably ill-conceived. Worthless: a record that need never have been created. Reserved for the most bathetic bathwater; the New Rolling Stone Record Guide was an update of 1979's The Rolling Stone Record Guide. Like the first edition, it was edited by Swenson.
It included contributions from 52 music critics and featured chronological album listings under the name of each artist. In many cases, updates from the first edition consist of short, one-sentence verdicts upon an artist's work. Instead of having separate sections such as Blues and Gospel, this edition compressed all of the genres it reviewed into one section except for Jazz titles which were removed for this edition and were expanded and published in 1985 Rolling Stone Jazz Record Guide. Besides adding reviews for many emerging punk and New Wave bands, this edition added or expanded a significant number of reviews of long-established reggae and ska artists. Since the goal of this guide was to review records that were in print at the time of publication, this edition featured a list of artists who were included in the first edition but were not included in the second edition because all of their material was out of print; this edition dispensed with the album cover photos found in the first edition.
Introduction to the Second Edition Introduction to the First Edition Ratings Reviewers Record Label Abbreviations Rock, Blues, Country and Pop Anthologies and Original Cast Index to Artists in the First Edition The second edition uses the same rating system as the first edition. The only difference is that in addition to a rating, the second edition employs the pilcrow mark to indicate a title, out of print at the time the guide was published; some artists had the ratings for their albums lowered as the book now offered a revisionist slant to rock's history. The Rolling Stone Jazz Record Guide was published in 1985 and incorporated the jazz listings omitted from The New Rolling S
Norman Granz was an American jazz music impresario. Granz was a fundamental figure in American jazz from about 1947 to 1960, he was the founder of five record labels: Clef, Down Home and Pablo. Granz was acknowledged as "the most successful impresario in the history of jazz". Granz is known for his anti-racist position and for integrating audiences. Born in Los Angeles, Granz was the son of Jewish immigrants from Tiraspol. After school, he began work as a stock clerk on the Los Angeles stock exchange; when America joined the Second World War, he was drafted into the U. S. Army Air Force. Subsequently, he was posted to the Morale branch, the department charged with troops' entertainment", he emerged into the public view when he organised desegregated jam sessions at the Trouville Club in Los Angeles, which he expanded when he staged a memorable concert at the Philharmonic Auditorium in Los Angeles on Sunday, July 2, 1944, under the heading of "Jazz at the Philharmonic". The title of the concert, "A Jazz Concert at the Philharmonic Auditorium", had been shortened by the printer of the advertising supplements to "Jazz at the Philharmonic".
Only one copy of the first concert program is known to exist. Norman Granz had organised the first Jazz at the Philharmonic concert with about $300 of borrowed money. Known as JATP, the ever-changing group recorded and toured extensively, with Granz producing some of the first live jam session recordings to be distributed to a wide market. After several JATP concerts in Los Angeles in 1944 and 1945, Granz began producing JATP concert tours, from late fall of 1945 to 1957 in USA and Canada, from 1952 in Europe, they featured swing and bop musicians and were among the first high-profile performances to feature racially integrated bands. Granz cancelled some bookings rather than have the musicians perform for segregated audiences, he recorded many of the JATP concerts, from 1945 to 1947 sold/leased the recordings to Asch/Disc/Stinson Records. In 1948 Granz signed an agreement with Mercury Records for the promotion and the distribution of the JATP recordings and other recordings. After the agreement expired in 1953 he issued the JATP recordings and other recordings on Clef Records and Norgran Records.
Down Home Records was intended for traditional jazz works. Jazz at the Philharmonic ceased touring the United States and Canada, after the JATP concerts in the fall of 1957, apart from a North American Tour in 1967, he died on November 2001, aged 83, in Geneva, Switzerland. Many of the names that made history in jazz signed with one of Norman Granz's labels, including Louis Armstrong, Ella Fitzgerald, Count Basie, Louie Bellson, Benny Carter, Buck Clayton, Buddy DeFranco, Roy Eldridge, Herb Ellis, Tal Farlow, Stan Getz, Dizzy Gillespie, Lionel Hampton, Coleman Hawkins, Johnny Hodges, Billie Holiday, Illinois Jacquet, Hank Jones, Gene Krupa, Anita O'Day, Charlie Parker, Joe Pass, Oscar Peterson, Flip Phillips, Bud Powell, Buddy Rich, Sonny Stitt, Slim Gaillard, Art Tatum, Ben Webster and Lester Young. Granz saw to it. In the segregated society of the 1940s, he insisted on equal pay and accommodation for white and black musicians, he refused to take his hugely popular concerts to places which were segregated if he had to cancel concerts, thereby sacrificing considerable sums of money.
In 1944, Granz and Gjon Mili produced the jazz film Jammin' the Blues, which starred Lester Young, Illinois Jacquet, Barney Kessel, Harry Edison, Jo Jones, Sidney Catlett, Marlowe Morris, Marie Bryant, was nominated for an Academy Award. It was in 1956 that the popular singer Ella Fitzgerald joined Norman Granz's label. Granz had been her manager for some time, unified his activities under the common label of Verve Records. Granz became Fitzgerald's manager, remained so until the end of her career. Fitzgerald's memorable series of eight Songbooks, together with the duet series achieved wide popularity and brought acclaim to the label and to the artists. Granz was the manager of Oscar Peterson, another lifelong friend. In 1959, Norman Granz moved to Switzerland. In December 1960, Verve Records was sold to Metro-Goldwyn-Mayer. Granz founded his last label, Pablo Records, in 1973. Norman Granz fought many battles for his artists, many of whom were black. In 1955, in Houston, Texas, he removed signs that would have designated "White" and "Negro" seating areas in the auditorium where two concerts were to be performed by Ella Fitzgerald and Dizzy Gillespie.
Between the two shows Ella and Dizzy were found playing cards in the dressing room and arrested by local police. After some negotiations, the artists were allowed to perform the second show and were formally released. Granz insisted on fighting the charges, which cost him a $2,000 fine. Oscar Peterson recounted how Granz once insisted that white cabdrivers take his black artists as customers while a policeman pointed a loaded pistol at his stomach. Granz was among the first to pay white and black artists the same salary and to give them equal treatment in minor details, such as dressing rooms. Granz spearheaded the fight to desegregate the hotels and casinos in Las Vegas, arguing that it was unfair that black artists could perform on the stages, but could not stay or gamble at the hotels, or enter through the front doors. Granz was interested in art, developing relationships with Pablo Picasso, whom he met in 1968. A detailed look at Granz, his career, his legacy can be fo
You're Driving Me Crazy
"You’re Driving Me Crazy" is an American popular song composed by Walter Donaldson in 1930 and recorded the same year by Lee Morse, Rudy Vallée & His Connecticut Yankees and Guy Lombardo & His Royal Canadians. The song became a hit and was added to the 1930 musical comedy Smiles, starring Marilyn Miller and Fred and Adele Astaire, it was recorded in 1930 by McKinney's Cotton Pickers and by Nick Lucas & His Crooning Troubadors. Nick Lucas's version, released on Brunswick, was a No. 7 hit: Brunswick 4987. The chords of "You're Driving Me Crazy" form the basis for Bennie Moten's great "Moten Swing." In 1931, cartoon character Betty Boop sang a sexy version of the song in the pre-code cartoon Silly Scandals. As Boop sang the song, her dress slipped down revealing a lacy bra and causing her to squeal. In the song, Betty was joined on stage by a line of mechanical dancing penguins who stomped out the beat in accompaniment to her singing. "You're Driving Me Crazy" has become a standard, recorded by over 100 artists.
The artists who have recorded the song include Billie Holiday, Chet Baker, Frank Sinatra, Ella Fitzgerald, Louis Armstrong, Sarah Vaughan, Mel Tormé, Della Reese, Betty Carter, Django Reinhardt, Peggy Lee, Lester Young. A version by The Temperance Seven made number one in the UK Singles chart in 1961; the song has been performed in the movies including: The 1931 Paramount Betty Boop cartoon Silly Scandals noted above. Fleischer Studios 1931 cartoon called Screen Songs, with jazzy scat singing of "You're Driving Me Crazy" by various animals. There is a dancing lion which looks like Betty Boop and other animals, including a Cab Calloway sound-alike; the 1991 film The Marrying Man starring Kim Basinger and Alec Baldwin. "You're Driving Me Crazy". The 2005 Oscar-nominated film Good Night, Good Luck. "You're Driving Me Crazy" and other standards performed by Dianne Reeves. The 2001 soccer/prison movie Mean Machine. "You're Driving Me Crazy". A cover version by The Temperance Seven, described as an art school band "who were retro before most of pop was original," was recorded in 1961, reaching number 1 on the UK Singles Chart that May.
Their version is a pastiche on the original, on 1920s dance band music in general, with Paul McDowell's insincere "whispering" helping to highlight this. Music critic Tom Ewing, writing for Freaky Trigger, concurrently described it as "one of the strangest number ones," "one of the most prescient " and "the first meta-pop hit", citing the song's "deliberate, tongue-in-cheek commentary on pop via pop, the world of the dance orchestras pushed flippantly into the TV age," feeling this anticipated Roxy Music and Richard X, but feeling as many people would have bought the single based on nostalgia as those who bought it due to its cleverness. A useful list of links to many of the recordings mentioned above Vivian Buczek performing an excerpt Carling Hot Six on YouTube The Temperance Seven Version on YouTube