Edited by Azizi Powell
This post showcases two songs by Sounds Of Blackness: "Chains" and "Hold On Change Is Coming".
The content of this post is presented inspirational, entertainment, and aesthetic purposes.
All copyrights remain with their owners.
FEATURED SONGS
Example #1: Sounds Of Blackness - Chains
SoundsBlacknessVEVO, Uploaded on Oct 4, 2009
Music video by Sounds Of Blackness performing Chains. (C) 1991 A&M Records
-snip-
"Chains" is the introduction to the Sounds Of Blackness song "Optimistic". Click http://www.youtube.com/watch?v=bWoEMzhDsQA for a sound file of that song.
LYRICS: CHAINS
Chains, chains, chains
Why were my people brought in chains.
Chains, chains, chains
Why were my people sold as
slaves, slaves, slaves.
God won't you free from these
Chains, chains, chains.
****
Video #2: Gospel The Sounds Of Blackness Hold On Change Is Coming 1997 YouTube
Laverne Murriell, Published on Jul 7, 2012
****
RELATED LINKS
http://pancocojams.blogspot.com/2012/02/songs-about-black-pride.html Songs About Black Pride
http://cocojams.com/content/african-american-civil-rights-songs African American Civil Rights Songs
ACKNOWLEDGEMENT AND THANKS
Thanks to the composer of these songs, and all of the members of Sounds Of Blackness, and the musicians who performed this video. My thanks also to the uploaders of these featured sound file and video.
Also, thank you for visiting pancocojams.
Viewer comments are welcome.
Thursday, January 31, 2013
Wednesday, January 30, 2013
Horace Silver, Eddie Jefferson "Psychedelic Sally"
Edited by Azizi Powell
This post showcase two renditions of the jazz tune "Psychedelic Sal".
This is part of an ongoing pancocojams series that features Jazz musicians and vocalists who were born in on were/are associated in some way with my adopted home town of Pittsburgh, Pennsylvania.
The content of this post is presented for entertainment and aesthetic purposes.
All copyrights remain with their owners.
FEATURED VIDEOS
The Horace SILVER Quintet "Psychedelic Sally" (1968)
Uploaded on Mar 14, 2010
From the album "Serenade to a soul sister". Horace Silver (pno), Charles Tolliver (tpt), Stanley Turrentine (T sax), Bob Cranshaw (db), Mickey Roker (dr).
-snip-
From http://www.cduniverse.com/productinfo.asp?pid=6750670&style=music&fulldesc=T
"One of the last great Horace Silver albums for Blue Note, Serenade to a Soul Sister is also one of the pianist's most infectiously cheerful, good-humored outings. It was recorded at two separate early-1968 sessions with two mostly different quintets, both featuring trumpeter Charles Tolliver and alternating tenor saxophonists Stanley Turrentine and Bennie Maupin, bassists Bob Cranshaw and John Williams, and drummers Mickey Roker and Billy Cobham. (Williams and Cobham were making some of their first recorded appearances since exiting the military.)
Silver's economical, rhythmic piano style had often been described as funky, but the fantastic opener "Psychedelic Sally" makes that connection more explicit and contemporary, featuring a jubilant horn theme and a funky bass riff that both smack of Memphis soul. (In fact, it's kind of a shame he didn't pursue this idea more.) Keeping the album's playful spirit going, "Rain Dance" is a campy American Indian-style theme, and "Jungle Juice" has a mysterious sort of exotic, tribal flavor. "Kindred Spirits" has a different, more ethereal sort of mystery, and "Serenade to a Soul Sister" is a warm, loose-swinging tribute. You'd never know this album was recorded in one of the most tumultuous years in American history, but as Silver says in the liner notes' indirect jab at the avant-garde, he simply didn't believe in allowing "politics, hatred, or anger" into his music.
Whether you agree with that philosophy or not, it's hard to argue with musical results as joyous and tightly performed as Serenade to a Soul Sister. ~ Steve Huey
Lyricist: Horace Silver. Horace Silver: Horace Silver; John Williams , Bob Cranshaw (bass instrument); Mickey Roker, Stanley Turrentine, Bennie Maupin, Billy Cobham, Charles Tolliver. Personnel: Horace Silver (piano); Stanley Turrentine, Bennie Maupin (tenor saxophone); Charles Tolliver (trumpet); Bob Cranshaw (piano); Mickey Roker, Billy Cobham (drums).
Audio Remasterer: Rudy Van Gelder. Liner Note Authors: Horace Silver; Bob Blumenthal.
Recording information: New York, NY (03/25/1968/03/29/1968); Van Gelder Studios, Englewood Cliffs, NJ (03/25/1968/03/29/1968). Photographer: Francis Wolff."
-snip-
This comment was reformatted for this post.
Of the musicians on this recording, I'm aware that Stanley Turrentine was from Pittsburgh, Pennsylvania.
****
Eddie Jefferson - Psychedelic Sally
Sakari Kaulaote, Uploaded on Jun 9, 2008
Acid Jazz
-snip-
Eddie Jefferson was from Pittsbugh, Pennsylvania.
This vocalese recording is from Eddie Jefferson's CD "Body & Soul".
Here's a comment from that YouTube sound file's viewer comment thread that identifies the musicians on this recording:
stillphil, 2010
"James Moody - Tenor Sax ,flute
Dave Burns trumpet / Barry Harris -piano / Steve Davis - bass / Bill English-drums
Ed Williams -spoken introduction. Eddie Jefferson-vox
September 27, 1968 recorded in New York"
Here's some information about Eddie Jefferson:
"Eddie Jefferson (August 3, 1918 – May 9, 1979) was a celebrated jazz vocalist and lyricist. He is credited as an innovator of vocalese. (Jefferson himself claims that his main influence was Leo Watson), a musical style in which lyrics are set to an instrumental composition or solo. Perhaps his best-known song is "Moody's Mood for Love", though it was first recorded by King Pleasure, who cited Jefferson as an influence. Jefferson's songs "Parker's Mood" and "Filthy McNasty" were also hits.[1]"
-snip-
http://en.wikipedia.org/wiki/Vocalese includes this distinction between vocalese and scatting:
"Vocalese is a style or genre (musical genre) of jazz singing wherein words are sung to melodies that were originally part of an all-instrumental composition or improvisation. Whereas scat singing uses improvised nonsense syllables, such as "bap ba dee dot bwee dee" in solos, vocalese uses lyrics, either improvised or written and set to pre-existing instrumental solos, sometimes in the form of a tribute to the original instrumentalist. The word "vocalese" is a play on the musical term "vocalise" and the suffix "-ese", meant to indicate a sort of language."
-snip-
LYRICS: PSYCHEDELIC SAL
(Eddie Jefferson)
psychedelyc Sally with your painted face
psychedelyc Sally you're my saving grace
psychedelyc Sally give your soul some time
woooo meditate and save your mind
psychedelyc Sally with the tainted few
psychedelyc Sally I'm in love with you
psychedelyc Sally what you're searching for
woooo find the key unlock the door
wandering round from town to town
don't know how the deal goes down
waiting for your lucky break to come
living life from hand to hand
messin' round from man to man
oh you know your feelings will be numb
psychedelyc Sally what you ought to know
psychedelyc Sally how I love you so
psychedelyc Sally give yourself a chance
woooo come on here and find romance
wandering round from town to town
don't know how the deal goes down
waiting for your lucky break to come
living life from hand to hand
messin' round from man to man
oh you know your feelings will be numb
psychedelyc Sally what you ought to know
psychedelyc Sally how I love you so
psychedelyc Sally give yourself a chance
woooo come on here and find romance
psychedelyc Sally with your painted face
psychedelyc Sally you're my shining grace
psychedelyc Sally give yourself a chance
woooo come on here and find romance
http://www.justsomelyrics.com/212678/Eddie-Jefferson-Psychedelic-Sally-Lyrics
****
Thanks for visiting pancocojams.
Visitor commeents are welcome.
This post showcase two renditions of the jazz tune "Psychedelic Sal".
This is part of an ongoing pancocojams series that features Jazz musicians and vocalists who were born in on were/are associated in some way with my adopted home town of Pittsburgh, Pennsylvania.
The content of this post is presented for entertainment and aesthetic purposes.
All copyrights remain with their owners.
FEATURED VIDEOS
The Horace SILVER Quintet "Psychedelic Sally" (1968)
Uploaded on Mar 14, 2010
From the album "Serenade to a soul sister". Horace Silver (pno), Charles Tolliver (tpt), Stanley Turrentine (T sax), Bob Cranshaw (db), Mickey Roker (dr).
-snip-
From http://www.cduniverse.com/productinfo.asp?pid=6750670&style=music&fulldesc=T
"One of the last great Horace Silver albums for Blue Note, Serenade to a Soul Sister is also one of the pianist's most infectiously cheerful, good-humored outings. It was recorded at two separate early-1968 sessions with two mostly different quintets, both featuring trumpeter Charles Tolliver and alternating tenor saxophonists Stanley Turrentine and Bennie Maupin, bassists Bob Cranshaw and John Williams, and drummers Mickey Roker and Billy Cobham. (Williams and Cobham were making some of their first recorded appearances since exiting the military.)
Silver's economical, rhythmic piano style had often been described as funky, but the fantastic opener "Psychedelic Sally" makes that connection more explicit and contemporary, featuring a jubilant horn theme and a funky bass riff that both smack of Memphis soul. (In fact, it's kind of a shame he didn't pursue this idea more.) Keeping the album's playful spirit going, "Rain Dance" is a campy American Indian-style theme, and "Jungle Juice" has a mysterious sort of exotic, tribal flavor. "Kindred Spirits" has a different, more ethereal sort of mystery, and "Serenade to a Soul Sister" is a warm, loose-swinging tribute. You'd never know this album was recorded in one of the most tumultuous years in American history, but as Silver says in the liner notes' indirect jab at the avant-garde, he simply didn't believe in allowing "politics, hatred, or anger" into his music.
Whether you agree with that philosophy or not, it's hard to argue with musical results as joyous and tightly performed as Serenade to a Soul Sister. ~ Steve Huey
Lyricist: Horace Silver. Horace Silver: Horace Silver; John Williams , Bob Cranshaw (bass instrument); Mickey Roker, Stanley Turrentine, Bennie Maupin, Billy Cobham, Charles Tolliver. Personnel: Horace Silver (piano); Stanley Turrentine, Bennie Maupin (tenor saxophone); Charles Tolliver (trumpet); Bob Cranshaw (piano); Mickey Roker, Billy Cobham (drums).
Audio Remasterer: Rudy Van Gelder. Liner Note Authors: Horace Silver; Bob Blumenthal.
Recording information: New York, NY (03/25/1968/03/29/1968); Van Gelder Studios, Englewood Cliffs, NJ (03/25/1968/03/29/1968). Photographer: Francis Wolff."
-snip-
This comment was reformatted for this post.
Of the musicians on this recording, I'm aware that Stanley Turrentine was from Pittsburgh, Pennsylvania.
****
Eddie Jefferson - Psychedelic Sally
Sakari Kaulaote, Uploaded on Jun 9, 2008
Acid Jazz
-snip-
Eddie Jefferson was from Pittsbugh, Pennsylvania.
This vocalese recording is from Eddie Jefferson's CD "Body & Soul".
Here's a comment from that YouTube sound file's viewer comment thread that identifies the musicians on this recording:
stillphil, 2010
"James Moody - Tenor Sax ,flute
Dave Burns trumpet / Barry Harris -piano / Steve Davis - bass / Bill English-drums
Ed Williams -spoken introduction. Eddie Jefferson-vox
September 27, 1968 recorded in New York"
Here's some information about Eddie Jefferson:
"Eddie Jefferson (August 3, 1918 – May 9, 1979) was a celebrated jazz vocalist and lyricist. He is credited as an innovator of vocalese. (Jefferson himself claims that his main influence was Leo Watson), a musical style in which lyrics are set to an instrumental composition or solo. Perhaps his best-known song is "Moody's Mood for Love", though it was first recorded by King Pleasure, who cited Jefferson as an influence. Jefferson's songs "Parker's Mood" and "Filthy McNasty" were also hits.[1]"
-snip-
http://en.wikipedia.org/wiki/Vocalese includes this distinction between vocalese and scatting:
"Vocalese is a style or genre (musical genre) of jazz singing wherein words are sung to melodies that were originally part of an all-instrumental composition or improvisation. Whereas scat singing uses improvised nonsense syllables, such as "bap ba dee dot bwee dee" in solos, vocalese uses lyrics, either improvised or written and set to pre-existing instrumental solos, sometimes in the form of a tribute to the original instrumentalist. The word "vocalese" is a play on the musical term "vocalise" and the suffix "-ese", meant to indicate a sort of language."
-snip-
LYRICS: PSYCHEDELIC SAL
(Eddie Jefferson)
psychedelyc Sally with your painted face
psychedelyc Sally you're my saving grace
psychedelyc Sally give your soul some time
woooo meditate and save your mind
psychedelyc Sally with the tainted few
psychedelyc Sally I'm in love with you
psychedelyc Sally what you're searching for
woooo find the key unlock the door
wandering round from town to town
don't know how the deal goes down
waiting for your lucky break to come
living life from hand to hand
messin' round from man to man
oh you know your feelings will be numb
psychedelyc Sally what you ought to know
psychedelyc Sally how I love you so
psychedelyc Sally give yourself a chance
woooo come on here and find romance
wandering round from town to town
don't know how the deal goes down
waiting for your lucky break to come
living life from hand to hand
messin' round from man to man
oh you know your feelings will be numb
psychedelyc Sally what you ought to know
psychedelyc Sally how I love you so
psychedelyc Sally give yourself a chance
woooo come on here and find romance
psychedelyc Sally with your painted face
psychedelyc Sally you're my shining grace
psychedelyc Sally give yourself a chance
woooo come on here and find romance
http://www.justsomelyrics.com/212678/Eddie-Jefferson-Psychedelic-Sally-Lyrics
****
Thanks for visiting pancocojams.
Visitor commeents are welcome.
Monday, January 28, 2013
Videos Of Obatala Songs, Chants, And Dances
Edited by Azizi Powell
This post showcases eight videos of Obatala songs, chants, and dances. Obatala is a Yoruba Orisa (Orisha, Orixa). As background to these videos, this post also includes information about the Yoruba religion, with special focus on information about Obatala.
This post is presented for religious, historical, folkloric, entertainment, and aesthetic purposes.
All copyrights remain with their owners.
Maferefun Obatala!
[Maferefún means “praises to the spiritual energy of” in the Yoruba language.]
INFORMATION ABOUT YORUBA RELIGION
From http://en.wikipedia.org/wiki/Yoruba_religion
"The Yorùbá religion comprises the traditional religious and spiritual concepts and practices of the Yoruba people. Its homeland is in Southwestern Nigeria and the adjoining parts of Benin and Togo, a region that has come to be known as Yorubaland. Yorùbá religion is formed of diverse traditions and has no single founder. It has influenced or given birth to thriving ways of life such as Lucumí, Umbanda and Candomblé.[1] Yoruba religious beliefs are part of itan, the total complex of songs, histories, stories and other cultural concepts which make up the Yorùbá society.[1][2][3]...
An Orisha (Orisa or Orixa) is an entity that possesses the capability of reflecting some of the manifestations of Olódùmarè. Yòrùbá Orishas (translated "owners of heads") are often described as intermediaries between man and the supernatural. The term is often translated as "deities" or "divinities".[8]...
-snip-
From http://www.orishanet.org/ocha.html
"The orishas are the emissaries of Olodumare or God almighty. They rule over the forces of nature and the endeavors of humanity. They recognise themselves and are recognised through their different numbers and colors which are their marks, and each has their own favorite foods and other things which they like to receive as offerings and gifts. In this way we make our offerings in the manner they are accustomed to, in the way they have always received them, so that they will recognise our offerings and come to our aid...
Obatalá is the kindly father of all the orishas and all humanity. He is also the owner of all heads and the mind. Though it was Olorun who created the universe, it is Obatalá who is the creator of the world and humanity. Obatalá is the source of all that is pure, wise peaceful and compassionate. He has a warrior side though through which he enforces justice in the world. His color is white which is often accented with red, purple and other colors to represent his/her different paths. White is most appropriate for Obatalá as it contains all the colors of the rainbow yet is above them. Obatalá is also the only orisha that has both male and female paths."
FEATURED SOUND FILES AND VIDEOS
(The location of these performances are given when indicated.]
Example #1: Tribute to Obatala - God of Creativity [Nigeria]
BrainfolkAfrican, Published on Mar 9, 2012
This is a collection of praise and worship songs to pay homage to Obatala, the God of creativity. The songs on this 2 DVD set were written and sung by Oyelola Ajibola Elebuibon, wife of Chief Ifayemi Elebuibon (Araba Awo of Osogbo Land, Nigeria). When you play the DVD or CD you will feel the energy flowing around you. Oyelola is a widely known and widely requested performer of Orisa Praise songs due to her not just singing, but feeling the words she puts into the song.
-snip-
The English translations of these songs are provided as subtitles in this video. Here's my transcription of the English part of the composer's introductory statement:
"Among 401 Orisas in Yorubaland, Obatala is the oldest. This album is an attempt to preserve and conserve the raw heritage.
It is my pleasure to enrich you with Obatala devotional songs and chants. At the same time, finding its relevance in these modern years - old wine in a new bottle".
-snip-
Additions and corrections are welcome.
****
Example #2: Nigeria- Obatala Shrine [Nigeria]
wavawoman, Uploaded on Jun 16, 2009
[©2006 Wavawoman Films, LLC] Devotees inside the Obatala Shrine in Ile-Ife, Nigeria playing bells and dancing for Obatala.
-snip-
Here are several comments from this video's viewer comment thread:
noah295463 , 2012
"Just a question ? what kind of bells are those ? the name ? Thank You.
-snip-
wavawoman, 2012
I was told they were called "igbin" bells. Igbin is the Yoruba word for "snail". I don't know if I heard correctly. They are flat pieces of iron beat with a thin iron rod. They make a lovely sound.
-snip-
Omo Oba, 2013
Igbin (Do Do) is Obatala special drum not Igbin (do Mi) Snail.
-snip-
Editor: Notice how some of the dancers are being dashed with [sprayed with] money. This is the origin of African Americans receiving dollars bills & pinning them on their shirts or the top of their dresses on their birthdays.
*****
Example #3: Ilu Aye - Obatala video
Dennis Flores, Uploaded on Mar 26, 2006
ILU AYE (Literally, "The Drum of the World" in Yoruba)was founded in 2004, to celebrate the connections between the peoples and cultures of the African Diaspora. Bringing together the next generation of Afro-Puerto Rican, -Dominican, and -Cuban percussionists and singers, ILU AYE is dedicated to preserving and promulagting the rich cultural legacy of Africa in the Americas and the Caribbean, through performance, educational workshops, and community-centered gatherings where the rhythms of the African Caribbean reign. Trained by master musicians from all three islands, and versed in sacred and popular rhythms such as bata, guiro, rumba (Cuba); bomba and plena (Puerto Rico); and palos, salves, and kongos (Dominican Republic), ILU AYE interprets traditional songs and reinvigorates the genres with original compositions by renowned akpwon, Osvaldo "Bembe" Lora. Join IluAye@yahoogroups.com for future events or visit their site @ www.myspace.com/iluayemusic
****
Example #4: Obatalá Dance -- Marta Ruiz [Cuban dancer in Russia]
afrocubaru, Uploaded on Nov 14, 2009
****
Example #5: "Niños y Orishas" - Obbatala [Cuba]
Antonio Bucanero, Uploaded on Sep 2, 2009
****
Example #6: Obbatala II - Abbilona
Alejandro Ayaguna, Uploaded on May 16, 2011
****
Example #7: Song and Dance For Orisha Obatala from 17th annual African Street Festival [United States]
ronzta, Uploaded on Jul 20, 2007
-snip-
Here are some comments from this video's viewer comment thread:
Veetuu, 2010
"Baba ofururu" we can translate like "pure/white/no bad thoughts' father" or "father with the breath from atmosphere". 'Father' here means 'lord', 'god'. Elegigbo is the young and warrior Oshala's kingdom (here in Brazil we call him Oshaguian, in yoruba 'Òsògínyón', Orisha who eats yam)"
-snip-
pikedagger1868, 2010
"There are many Avatars and even types of Obatala Dances...for instance Obatala Oba Moro dances and drops to his one knee...There are even older avatars like Obatala Ocha Griñan who needs to have all music played VERY softly and people must be quiet...he is a VERY old Obatala...or Obatala Orishanla who is a trembling old woman who wants to be covered with a
white sheet. I am a child of Obatala...Maferefun Baba/Iya mi modupe Obatala!"
-snip-
Veetuu, 2010
"Yes, there is. There's a difference in how to play and to sing, but the lyrics are practically the same. Search for the video "Oxalufã Candomblé (Ketu)" and you can see the difference. Here's closer from the african's rhythm from Ketu."
-snip-
Here's a link to the sound file that is mentioned in the above quote:
http://www.youtube.com/watch?v=ly2Kx-GFAw4.
-snip-
From http://en.wikipedia.org/wiki/Candombl%C3%A9_Ketu
"Candomblé Ketu' (or Queto in Portuguese spelling) is the largest and most influential nation (sect) of Candomblé, a religion widely practiced in Brazil. Its beliefs and rituals are similar to those of other Candomblé nations in general terms, but different in almost every detail.
-snip-
Ketu deities are basically those of Yoruba mythology. Olorun, also known as Eledumare, Olodumare, Eledaa and Olofin-Orun, is the supreme God, who created the deities or Orishas (also spelled Orisas or Orixás). The variety of orishas still venerated in Africa were reduced to about 16, of which around twelve are invoked in ceremonies:
[orishas names given, including]
..."Oxalá, the most respected Orixá, father of most other Orixás."
-snip-
Oxalá = Obatala
****
Example #8: Chief Aikulola, Odun Obatala (Festival of Obatala)
asaforitifa, Uploaded on Sep 28, 2007
sacerdotizas de obatala y osun en la casa del Agbongbon de osogbo alto rango de Ifa en el pueblo Osogbo con motivo de la celebracion del festival de Obatala del Gbawoniyi de este mismo pueblo chief Aikulola Fawehinmi. Estas sacerdotizas estan realizando Oosa pipe que es la poesia llamatoria de Obatala.
Priestesses of Obatala and Osun at the home of the Agbongbon Awo of Osogbo during the annual Obatala festival of Chief Aikulola Fawehinmi, a babalawo and priest (adosu) of Obatala and Egungun. The women and some of the men are reciting Oosa pipe, the praise poetry (oriki) used to call Obatala.
Más información en nuestro web site..
http://www.Asaforitifa.com
Video tomado por Awo Fasotito Oduola
****
Thanks to all who are quoted in this post. Thanks also to the publishers of these videos.
Thank you for visiting pancocojams.
Visitor comments are welcome.
This post showcases eight videos of Obatala songs, chants, and dances. Obatala is a Yoruba Orisa (Orisha, Orixa). As background to these videos, this post also includes information about the Yoruba religion, with special focus on information about Obatala.
This post is presented for religious, historical, folkloric, entertainment, and aesthetic purposes.
All copyrights remain with their owners.
Maferefun Obatala!
[Maferefún means “praises to the spiritual energy of” in the Yoruba language.]
INFORMATION ABOUT YORUBA RELIGION
From http://en.wikipedia.org/wiki/Yoruba_religion
"The Yorùbá religion comprises the traditional religious and spiritual concepts and practices of the Yoruba people. Its homeland is in Southwestern Nigeria and the adjoining parts of Benin and Togo, a region that has come to be known as Yorubaland. Yorùbá religion is formed of diverse traditions and has no single founder. It has influenced or given birth to thriving ways of life such as Lucumí, Umbanda and Candomblé.[1] Yoruba religious beliefs are part of itan, the total complex of songs, histories, stories and other cultural concepts which make up the Yorùbá society.[1][2][3]...
An Orisha (Orisa or Orixa) is an entity that possesses the capability of reflecting some of the manifestations of Olódùmarè. Yòrùbá Orishas (translated "owners of heads") are often described as intermediaries between man and the supernatural. The term is often translated as "deities" or "divinities".[8]...
-snip-
From http://www.orishanet.org/ocha.html
"The orishas are the emissaries of Olodumare or God almighty. They rule over the forces of nature and the endeavors of humanity. They recognise themselves and are recognised through their different numbers and colors which are their marks, and each has their own favorite foods and other things which they like to receive as offerings and gifts. In this way we make our offerings in the manner they are accustomed to, in the way they have always received them, so that they will recognise our offerings and come to our aid...
Obatalá is the kindly father of all the orishas and all humanity. He is also the owner of all heads and the mind. Though it was Olorun who created the universe, it is Obatalá who is the creator of the world and humanity. Obatalá is the source of all that is pure, wise peaceful and compassionate. He has a warrior side though through which he enforces justice in the world. His color is white which is often accented with red, purple and other colors to represent his/her different paths. White is most appropriate for Obatalá as it contains all the colors of the rainbow yet is above them. Obatalá is also the only orisha that has both male and female paths."
FEATURED SOUND FILES AND VIDEOS
(The location of these performances are given when indicated.]
Example #1: Tribute to Obatala - God of Creativity [Nigeria]
BrainfolkAfrican, Published on Mar 9, 2012
This is a collection of praise and worship songs to pay homage to Obatala, the God of creativity. The songs on this 2 DVD set were written and sung by Oyelola Ajibola Elebuibon, wife of Chief Ifayemi Elebuibon (Araba Awo of Osogbo Land, Nigeria). When you play the DVD or CD you will feel the energy flowing around you. Oyelola is a widely known and widely requested performer of Orisa Praise songs due to her not just singing, but feeling the words she puts into the song.
-snip-
The English translations of these songs are provided as subtitles in this video. Here's my transcription of the English part of the composer's introductory statement:
"Among 401 Orisas in Yorubaland, Obatala is the oldest. This album is an attempt to preserve and conserve the raw heritage.
It is my pleasure to enrich you with Obatala devotional songs and chants. At the same time, finding its relevance in these modern years - old wine in a new bottle".
-snip-
Additions and corrections are welcome.
****
Example #2: Nigeria- Obatala Shrine [Nigeria]
wavawoman, Uploaded on Jun 16, 2009
[©2006 Wavawoman Films, LLC] Devotees inside the Obatala Shrine in Ile-Ife, Nigeria playing bells and dancing for Obatala.
-snip-
Here are several comments from this video's viewer comment thread:
noah295463 , 2012
"Just a question ? what kind of bells are those ? the name ? Thank You.
-snip-
wavawoman, 2012
I was told they were called "igbin" bells. Igbin is the Yoruba word for "snail". I don't know if I heard correctly. They are flat pieces of iron beat with a thin iron rod. They make a lovely sound.
-snip-
Omo Oba, 2013
Igbin (Do Do) is Obatala special drum not Igbin (do Mi) Snail.
-snip-
Editor: Notice how some of the dancers are being dashed with [sprayed with] money. This is the origin of African Americans receiving dollars bills & pinning them on their shirts or the top of their dresses on their birthdays.
*****
Example #3: Ilu Aye - Obatala video
Dennis Flores, Uploaded on Mar 26, 2006
ILU AYE (Literally, "The Drum of the World" in Yoruba)was founded in 2004, to celebrate the connections between the peoples and cultures of the African Diaspora. Bringing together the next generation of Afro-Puerto Rican, -Dominican, and -Cuban percussionists and singers, ILU AYE is dedicated to preserving and promulagting the rich cultural legacy of Africa in the Americas and the Caribbean, through performance, educational workshops, and community-centered gatherings where the rhythms of the African Caribbean reign. Trained by master musicians from all three islands, and versed in sacred and popular rhythms such as bata, guiro, rumba (Cuba); bomba and plena (Puerto Rico); and palos, salves, and kongos (Dominican Republic), ILU AYE interprets traditional songs and reinvigorates the genres with original compositions by renowned akpwon, Osvaldo "Bembe" Lora. Join IluAye@yahoogroups.com for future events or visit their site @ www.myspace.com/iluayemusic
****
Example #4: Obatalá Dance -- Marta Ruiz [Cuban dancer in Russia]
afrocubaru, Uploaded on Nov 14, 2009
****
Example #5: "Niños y Orishas" - Obbatala [Cuba]
Antonio Bucanero, Uploaded on Sep 2, 2009
****
Example #6: Obbatala II - Abbilona
Alejandro Ayaguna, Uploaded on May 16, 2011
****
Example #7: Song and Dance For Orisha Obatala from 17th annual African Street Festival [United States]
ronzta, Uploaded on Jul 20, 2007
-snip-
Here are some comments from this video's viewer comment thread:
Veetuu, 2010
"Baba ofururu" we can translate like "pure/white/no bad thoughts' father" or "father with the breath from atmosphere". 'Father' here means 'lord', 'god'. Elegigbo is the young and warrior Oshala's kingdom (here in Brazil we call him Oshaguian, in yoruba 'Òsògínyón', Orisha who eats yam)"
-snip-
pikedagger1868, 2010
"There are many Avatars and even types of Obatala Dances...for instance Obatala Oba Moro dances and drops to his one knee...There are even older avatars like Obatala Ocha Griñan who needs to have all music played VERY softly and people must be quiet...he is a VERY old Obatala...or Obatala Orishanla who is a trembling old woman who wants to be covered with a
white sheet. I am a child of Obatala...Maferefun Baba/Iya mi modupe Obatala!"
-snip-
Veetuu, 2010
"Yes, there is. There's a difference in how to play and to sing, but the lyrics are practically the same. Search for the video "Oxalufã Candomblé (Ketu)" and you can see the difference. Here's closer from the african's rhythm from Ketu."
-snip-
Here's a link to the sound file that is mentioned in the above quote:
http://www.youtube.com/watch?v=ly2Kx-GFAw4.
-snip-
From http://en.wikipedia.org/wiki/Candombl%C3%A9_Ketu
"Candomblé Ketu' (or Queto in Portuguese spelling) is the largest and most influential nation (sect) of Candomblé, a religion widely practiced in Brazil. Its beliefs and rituals are similar to those of other Candomblé nations in general terms, but different in almost every detail.
-snip-
Ketu deities are basically those of Yoruba mythology. Olorun, also known as Eledumare, Olodumare, Eledaa and Olofin-Orun, is the supreme God, who created the deities or Orishas (also spelled Orisas or Orixás). The variety of orishas still venerated in Africa were reduced to about 16, of which around twelve are invoked in ceremonies:
[orishas names given, including]
..."Oxalá, the most respected Orixá, father of most other Orixás."
-snip-
Oxalá = Obatala
****
Example #8: Chief Aikulola, Odun Obatala (Festival of Obatala)
asaforitifa, Uploaded on Sep 28, 2007
sacerdotizas de obatala y osun en la casa del Agbongbon de osogbo alto rango de Ifa en el pueblo Osogbo con motivo de la celebracion del festival de Obatala del Gbawoniyi de este mismo pueblo chief Aikulola Fawehinmi. Estas sacerdotizas estan realizando Oosa pipe que es la poesia llamatoria de Obatala.
Priestesses of Obatala and Osun at the home of the Agbongbon Awo of Osogbo during the annual Obatala festival of Chief Aikulola Fawehinmi, a babalawo and priest (adosu) of Obatala and Egungun. The women and some of the men are reciting Oosa pipe, the praise poetry (oriki) used to call Obatala.
Más información en nuestro web site..
http://www.Asaforitifa.com
Video tomado por Awo Fasotito Oduola
****
Thanks to all who are quoted in this post. Thanks also to the publishers of these videos.
Thank you for visiting pancocojams.
Visitor comments are welcome.
Sunday, January 27, 2013
"The Flea Fly Flow" ("Cuma La Vista") Rhyme & Songs That Helped It Grow
Edited by Azizi Powell
Latest revision April 15, 2023
This pancocojams post presents three examples of songs that I believe helped influence the development & popularity of the playground rhyme "Flea Fly Flow" ("Cumala Vista"). One video & six text examples of "Flea Fly Flow" are also included in this post.
The content of this post is presented for historical, entertainment, and aesthetic purposes.
All copyrights remain with their owners.
FEATURED SONG EXAMPLES
Example #1: Desi Arnaz - El Cumbanchero (1946)
Uploaded by MaryLouBrown on Sep 18, 2008
... with pics of the first "I Love Lucy" Season.
-snip-
It's my theory that the 1940 Latin Jazz song "El Cumbanchero" is the primary source of the R&B songs Cu Ma La Be Stay (Chubby Checker - 1964), "Oh, No! Not the Beast Day!" (Marsha Hunt- 1973), and the numerous playground rhyme which are known as "Flea Fly Flow" ("Cumala Vista").
Latest revision April 15, 2023
This pancocojams post presents three examples of songs that I believe helped influence the development & popularity of the playground rhyme "Flea Fly Flow" ("Cumala Vista"). One video & six text examples of "Flea Fly Flow" are also included in this post.
The content of this post is presented for historical, entertainment, and aesthetic purposes.
All copyrights remain with their owners.
FEATURED SONG EXAMPLES
Example #1: Desi Arnaz - El Cumbanchero (1946)
Uploaded by MaryLouBrown on Sep 18, 2008
... with pics of the first "I Love Lucy" Season.
-snip-
It's my theory that the 1940 Latin Jazz song "El Cumbanchero" is the primary source of the R&B songs Cu Ma La Be Stay (Chubby Checker - 1964), "Oh, No! Not the Beast Day!" (Marsha Hunt- 1973), and the numerous playground rhyme which are known as "Flea Fly Flow" ("Cumala Vista").
My theory is based on the similarity of the word "Cumbanchero" and the title of those other songs & rhymes, as well as the similarity between the first two lines of "El Cumbanchero" and lines in those other composition. Also, my theory is based to a lesser extent, to "El Cumbanchero"'s tune, and the tune of those other compositions.
A rendition of "El Cumbanchero" was performed by Cuban American musician Desi Arnez in 1946. It's likely that the popularity of Desi Arnez as the producer & star of the mega-hit American television show "I Love Lucy" which first aired in 1951, helped familiarize people in the United States with the "El Cumbanchero" song.
Here's information about the composer of the song "El Cumbanchero":
From http://en.wikipedia.org/wiki/Rafael_Hern%C3%A1ndez_Mar%C3%ADn
Rafael Hernández (October 24, 1892 – December 11, 1965), was one of the most important composers of Puerto Rican popular music during the 20th century....
[Among the song's composed by Rafael Hernandez was]
"El Cumbanchero"[6] (also known as "Rockfort Rock" or "Comanchero" (sic) to reggae aficionados)"...
Click https://genius.com/Ruben-gonzalez-cumbanchero-lyrics to find the lyrics to the song "El Cunbanchero" by Rafael Hernandez. Here's an excerpt of those lyrics:
A rendition of "El Cumbanchero" was performed by Cuban American musician Desi Arnez in 1946. It's likely that the popularity of Desi Arnez as the producer & star of the mega-hit American television show "I Love Lucy" which first aired in 1951, helped familiarize people in the United States with the "El Cumbanchero" song.
Here's information about the composer of the song "El Cumbanchero":
From http://en.wikipedia.org/wiki/Rafael_Hern%C3%A1ndez_Mar%C3%ADn
Rafael Hernández (October 24, 1892 – December 11, 1965), was one of the most important composers of Puerto Rican popular music during the 20th century....
[Among the song's composed by Rafael Hernandez was]
"El Cumbanchero"[6] (also known as "Rockfort Rock" or "Comanchero" (sic) to reggae aficionados)"...
Click https://genius.com/Ruben-gonzalez-cumbanchero-lyrics to find the lyrics to the song "El Cunbanchero" by Rafael Hernandez. Here's an excerpt of those lyrics:
"A cumba-cumba-cumba cumbanchero
A bongo-bongo-bongo bongocero
Pri-qui-ti que va sonando
El cumbanchero bongocero que se va
Bongocero que se va"
-snip-
UPDATE: July 4, 2021
Here's part of a comment that was published in this post's comment section by Carlos Arias on July 3. 2021. (The complete comment is found below)
"What about this. "El Cumbanchero" from Desi Arnaz (1946), has cuban origins, with spanish lyrics, presents a similar melodic phrase. In 1964 Chubby Checker presents (Cum-ba-la-be-stay), then in 1973 Marsha Hunt (Oh, no! Not the beast day!) (¡Oh no!, ¡No el día de la bestia!), all three of them sharing afro - caribbean roots. What if they present a transliteration from Spanish lyrics: "Ama la macumba, la macumba, la viste. ¡Oh, no, no, no!; ¡No debiste¡" (Thou! Love the Macumba! The macumba, you saw it!, oh no! no, no, no you shouldn't)"...
-snip-
Thanks for your comment, Carlos Arias!
A bongo-bongo-bongo bongocero
Pri-qui-ti que va sonando
El cumbanchero bongocero que se va
Bongocero que se va"
-snip-
UPDATE: July 4, 2021
Here's part of a comment that was published in this post's comment section by Carlos Arias on July 3. 2021. (The complete comment is found below)
"What about this. "El Cumbanchero" from Desi Arnaz (1946), has cuban origins, with spanish lyrics, presents a similar melodic phrase. In 1964 Chubby Checker presents (Cum-ba-la-be-stay), then in 1973 Marsha Hunt (Oh, no! Not the beast day!) (¡Oh no!, ¡No el día de la bestia!), all three of them sharing afro - caribbean roots. What if they present a transliteration from Spanish lyrics: "Ama la macumba, la macumba, la viste. ¡Oh, no, no, no!; ¡No debiste¡" (Thou! Love the Macumba! The macumba, you saw it!, oh no! no, no, no you shouldn't)"...
-snip-
Thanks for your comment, Carlos Arias!
****
Example #2: Chubby Checker - Cu Ma La Be Stay
Soul Sauce, Feb, 8, 2015
-snip-
Here's the summary for the sound file that was originally published in this post, but is no longer available:
"After he'd finished with all the twistin', limboing, flying and mashed potatoing, Chubby came along with this great sound that was actually issued as a B side over here in the UK. It went on to be a big sound in the soul discos of the late sixties and early seventies. Always a floor-filler, so bounce around with Chubby to this one."- jimmytheferret, Uploaded on May 12, 2008
****
Example #3: Marsha Hunt - Oh, no! Not the Beast Day! [1973]
mackiemesser, ploaded on Feb 11, 2009
****
Example #4 "Kuma La Vista" with the kids of Sola Fe [2010]
Uploaded by amandastacyhill on Mar 28, 2010
TEXT EXAMPLES OF THE PLAYGROUND RHYME FLEA FLY FLOW (CUMULA VISTA)
FLEA FLY FLO (Example #1)
...Used to sing it as a brownie and guide. the rhythm is done by slapping your thighs then clapping your hands.
FLEA
(All lines are done by the leader then echoed)
Flea
Flea fly
Flea fly flo
vista
Cumala, cumala, cumala vista
Oh no no no no da vista
Eeney meaney decimeaney ooh wala wala meaney ex a meaney sal a meaney ooh wala wa
Beat biddley oten doten bobo da beeten doten Shhhhht.
Then you do it FAST!!!
-alison,://www.mudcat.org/thread.cfm?threadid=8951 meaning -musha ring dumma do dumma da, February 1, 1999
-snip-
"Brownies and guides" are Girl Scouts levels. Notice that this example includes lines from the huge "Eeny Meanie" playground rhyme family.
****
FLEA FLY FLO (Example #2)
My version is the same as Alison's until the first line that ends with vista (but I learned vistey not vista).
FLEA
Each line is echoed back to the leader.
Flea (Flea) Flea fly (Flea fly) Flea fly flo (Flea fly flo) Vistey (Vistey)
Cumala, cumala, cumala vistey
Oh no no no not the vistey
Vistey ( and then it really changes!)
Eeney meney dis a leenee, ooh ahh ahh meleenee Otchicotchee oochirachee, ooh ahh ooh. Ish bibili oaten doten, why not in doten toten, bo bo ski doten toten hey don areema!
This was always a camp song that was lots of fun because you got faster each time until everyone just collapsed in laughter. I've heard other versions but this is the only one I've ever been able to learn.
-karen k, "://www.mudcat.org/thread.cfm?threadid=8951 meaning -musha ring dumma do dumma da, February 1, 1999
****
FLEA FLY FLEW (Example #3)
flea (flea)
fly (fly)
flea fly flew (ditto)
coomalata coomalata coomalata beestay
no no no no not the beestay
and ended in a sort of scat-rhythm: eee-biddlety-oaten-doaten-wahbat-skee-watten-tatten-SHHHHHHHHHHHHH !!!!
-Bonnie S.; http://www.mudcat.org/thread.cfm?threadid=47148 RE: eena meena mackeracka (children's rhymes);7/1/2006
****
FLEA (Example #4, #5, #6)
In this song, the song leader sings (says) a line and the audience repeats the line. Keep the beat by alternately slapping thighs and clapping hands:
Flea!
Flea Fly!
Flea Fly Mosquito!
Oh no no no no Mosquito!
Get that big bad bug with the bug spray!
PSSSSSSSSSSH (spray can sound)
Repeat three or more times, each time a little faster.
Another Version:
Flea!
Flea Fly!
Flea Fly Flo!
Eenie, meenie, decimeenie, oo wall a wall a meenie!
Ex a meenie, zoll a meenie, oo wall a wall!
Beep billy ott in dotten oh bo ba beaten dotten shh!
Flea!
Flea fly!
Flea fly flow!
Kumalata kumalata kumalata veeslay!
Oh, no no no, not the veeslay.
Ich a mini, satch a mini, oo walla walla mini.
Des a mini, satch a mini, oo walla wall.
A beat billy oaten bobin obo a boatin bobin obo a boatin bobin boatin bobin boatin bobin boatin bobin sssshhh...
Fleas (audience repeats)
Fleas Flies (audience repeats)
Fleas Flies Mosquitos (audience repeats)
Calimine, calimine, calimine lotion
Oh no, no more calimine lotion
Itsy bitsy, teeny weeny, itty bitty
Nasty bitey mosquito -- SQUASH (squash is yelled at top of lungs)
Flea!
Flea Fly!
Flea Fly Flo!
Vista
Coo-ma-la, Coo-ma-la, Coo-ma-la Vista
Oh no-no, no, not the vista
Eenie, meenie, decimeenie, oo walla walla meenie!
Ex a meenie, zoll a meenie, oo walla wall!
Beep billy ott in dotten oh bo ba beaten dotten shh!
- Susan Best, Ev Holm, Cathy Porter, http://www.macscouter.com/songs/Repeat.asp [retrieved 1/27/2013]
-snip-
Click http://cocojams.com/content/handclap-jump-rope-and-elastics-rhymes for examples of the rhyme "bobo ski otten botten (or similar titles) which is often included in "Flea Fly Flow" rhymes.
****
ACKNOWLEDGEMENT AND THANKS
Thanks to the composers of these songs, and all of the musicians, vocalists, and other performers in the featured videos. My thanks also to the websites and individuals whose examples of this playgroup rhyme are featured in this post. In addition, thanks to the uploaders of these featured sound files and video.
Also, thank you for visiting pancocojams.
Viewer comments are welcome.
Example #2: Chubby Checker - Cu Ma La Be Stay
Here's the summary for the sound file that was originally published in this post, but is no longer available:
"After he'd finished with all the twistin', limboing, flying and mashed potatoing, Chubby came along with this great sound that was actually issued as a B side over here in the UK. It went on to be a big sound in the soul discos of the late sixties and early seventies. Always a floor-filler, so bounce around with Chubby to this one."- jimmytheferret, Uploaded on May 12, 2008
****
Example #3: Marsha Hunt - Oh, no! Not the Beast Day! [1973]
mackiemesser, ploaded on Feb 11, 2009
****
Example #4 "Kuma La Vista" with the kids of Sola Fe [2010]
Uploaded by amandastacyhill on Mar 28, 2010
TEXT EXAMPLES OF THE PLAYGROUND RHYME FLEA FLY FLOW (CUMULA VISTA)
FLEA FLY FLO (Example #1)
...Used to sing it as a brownie and guide. the rhythm is done by slapping your thighs then clapping your hands.
FLEA
(All lines are done by the leader then echoed)
Flea
Flea fly
Flea fly flo
vista
Cumala, cumala, cumala vista
Oh no no no no da vista
Eeney meaney decimeaney ooh wala wala meaney ex a meaney sal a meaney ooh wala wa
Beat biddley oten doten bobo da beeten doten Shhhhht.
Then you do it FAST!!!
-alison,://www.mudcat.org/thread.cfm?threadid=8951 meaning -musha ring dumma do dumma da, February 1, 1999
-snip-
"Brownies and guides" are Girl Scouts levels. Notice that this example includes lines from the huge "Eeny Meanie" playground rhyme family.
****
FLEA FLY FLO (Example #2)
My version is the same as Alison's until the first line that ends with vista (but I learned vistey not vista).
FLEA
Each line is echoed back to the leader.
Flea (Flea) Flea fly (Flea fly) Flea fly flo (Flea fly flo) Vistey (Vistey)
Cumala, cumala, cumala vistey
Oh no no no not the vistey
Vistey ( and then it really changes!)
Eeney meney dis a leenee, ooh ahh ahh meleenee Otchicotchee oochirachee, ooh ahh ooh. Ish bibili oaten doten, why not in doten toten, bo bo ski doten toten hey don areema!
This was always a camp song that was lots of fun because you got faster each time until everyone just collapsed in laughter. I've heard other versions but this is the only one I've ever been able to learn.
-karen k, "://www.mudcat.org/thread.cfm?threadid=8951 meaning -musha ring dumma do dumma da, February 1, 1999
****
FLEA FLY FLEW (Example #3)
flea (flea)
fly (fly)
flea fly flew (ditto)
coomalata coomalata coomalata beestay
no no no no not the beestay
and ended in a sort of scat-rhythm: eee-biddlety-oaten-doaten-wahbat-skee-watten-tatten-SHHHHHHHHHHHHH !!!!
-Bonnie S.; http://www.mudcat.org/thread.cfm?threadid=47148 RE: eena meena mackeracka (children's rhymes);7/1/2006
****
FLEA (Example #4, #5, #6)
In this song, the song leader sings (says) a line and the audience repeats the line. Keep the beat by alternately slapping thighs and clapping hands:
Flea!
Flea Fly!
Flea Fly Mosquito!
Oh no no no no Mosquito!
Get that big bad bug with the bug spray!
PSSSSSSSSSSH (spray can sound)
Repeat three or more times, each time a little faster.
Another Version:
Flea!
Flea Fly!
Flea Fly Flo!
Eenie, meenie, decimeenie, oo wall a wall a meenie!
Ex a meenie, zoll a meenie, oo wall a wall!
Beep billy ott in dotten oh bo ba beaten dotten shh!
Flea!
Flea fly!
Flea fly flow!
Kumalata kumalata kumalata veeslay!
Oh, no no no, not the veeslay.
Ich a mini, satch a mini, oo walla walla mini.
Des a mini, satch a mini, oo walla wall.
A beat billy oaten bobin obo a boatin bobin obo a boatin bobin boatin bobin boatin bobin boatin bobin sssshhh...
Fleas (audience repeats)
Fleas Flies (audience repeats)
Fleas Flies Mosquitos (audience repeats)
Calimine, calimine, calimine lotion
Oh no, no more calimine lotion
Itsy bitsy, teeny weeny, itty bitty
Nasty bitey mosquito -- SQUASH (squash is yelled at top of lungs)
Flea!
Flea Fly!
Flea Fly Flo!
Vista
Coo-ma-la, Coo-ma-la, Coo-ma-la Vista
Oh no-no, no, not the vista
Eenie, meenie, decimeenie, oo walla walla meenie!
Ex a meenie, zoll a meenie, oo walla wall!
Beep billy ott in dotten oh bo ba beaten dotten shh!
- Susan Best, Ev Holm, Cathy Porter, http://www.macscouter.com/songs/Repeat.asp [retrieved 1/27/2013]
-snip-
Click http://cocojams.com/content/handclap-jump-rope-and-elastics-rhymes for examples of the rhyme "bobo ski otten botten (or similar titles) which is often included in "Flea Fly Flow" rhymes.
****
ACKNOWLEDGEMENT AND THANKS
Thanks to the composers of these songs, and all of the musicians, vocalists, and other performers in the featured videos. My thanks also to the websites and individuals whose examples of this playgroup rhyme are featured in this post. In addition, thanks to the uploaders of these featured sound files and video.
Also, thank you for visiting pancocojams.
Viewer comments are welcome.
South African vocalist Brenda Fassie - Vulindlela (with lyrics)
Edited by Azizi Powell
This pancocojams post showcases the song "Vulindlela" by South African singer Brenda Fassie.
Information about Brenda Fassie is also included in this post along with lyrics for this song.
The content of this post is presented for cultural, entertainment, and aesthetic purposes.
All copyrights remain with their owners.
Thanks to Brenda Fassie for her musical legacy. Thanks also to all those who are quoted in this post and thanks to the publisher of this video on YouTube.
****
INFORMATION ABOUT BRENDA FASSIE
From http://en.wikipedia.org/wiki/Brenda_Fassie
"Brenda Fassie (3 November 1964 – 9 May 2004)[1] was an anti-apartheid South African Afropop singer.[2] Her bold stage antics earned a reputation for "outrageousness".[3] Affectionately called Mabrr by her fans, she was sometimes described as the "Queen of African Pop"...
Fassie was born in Langa, Cape Town,[4] as the youngest of nine children. She was named after the American singer Brenda Lee...
With very outspoken views and frequent visits to the poorer townships of Johannesburg, as well as songs about life in the townships, she enjoyed tremendous popularity. Known best for her songs "Weekend Special" and "Too Late for Mama", she was dubbed "The Madonna of the Townships" by Time in 2001...
From 1996 she released several solo albums, including Now Is the Time, Memeza (1997), and Nomakanjani?. Most of her albums became multi-platinum sellers in South Africa"...
-snip-
From http://richmondsajini.wordpress.com/2011/11/03/13/
..."One of a kind! Many said that Brenda was the “Madonna of the townships” but for me she was more than that. She was our own Michael Jackson. Brenda was THE QUEEN! Many tried to be like her and many have been accused of trying to be her yet none of them has the energy that she had on stage. Lebo Mathosa came very close, but she was just not Brenda.
Style icon! Whatever outfit MaBrrr was rocking, it was sure to be a trend. My mom recalls wanting a pair of shorts she saw Brenda wearing in a picture in the 80s. The desire for these short shorts spread like wildfire and it became a trend. Then Brenda went on to rock a blonde hairstyle. Best believe, this too became a trend."...
FEATURED SONG: VULINDLELA-BRENDA FASSIE
SPHERNO, Uploaded on Jul 1, 2011
R.I.P BRENDA FASIE,AFRICA WILL ALWAYS REMEMBER YOU.
****
INFORMATION ABOUT & LYRICS TO "VULINDLELA"
From http://livingladolcevita.wordpress.com/2006/08/15/27/
sundayschild, 15 August 2006
"And vulindlela means ‘clear the way’ or clean the path."
sundayschild (16 August 2006)
"on multiple levels – in one sense clearing the path for the [newly married]* couple to walk down, in another clearing the way for the start of a new life… it’s about clearing things up so there’s room for (positive) change, which is why the ANC appropriated the song for its ’99 election campaign…
it’s a GREAT track (but then most of Ma Brrrrrr’s are…)"
-snip-
*I added the words in brackets which are implied from the preceding comments.
-snip-
From http://1001sasongs.wordpress.com/2011/06/30/vulindlela-%E2%80%93-brenda-fassie/
"Listening to Vulindlela, it’s quite hard to believe that someone who had so many problems in life could sing so beautifully, but Brenda Fassie’s vocals on this track are hauntingly so. Set against a decidedly danceable synth background, the song epitomises the township sound of the late 90s.
You don’t have to understand the words to be moved by the song. Check out the Youtube video link below and you will see comments from people from Somalia, Kenya, Nigeria, Sierra Leone and Cameroon to name a few. Brenda was huge throughout Africa, and Vulindlela is widely appreciated around the globe.
A month after her death on 26 April 2004, the song was voted Song of the Decade at the South African Music Awards. It is highly likely that the emotional outpouring that followed her death led to this vote, however, that should not distract one from the fact that it would probably have been a contender for the award anyway…
Lyrics:
Vul’indlela wemamgobhozi (Open the gates, Miss Gossip)
He unyana wam (My baby boy)
Helele uyashada namhlanje (Is getting married today)
Vul’indlela wela ma ngiyabuza (Open the gates please)
Msuba nomona (Don’t be jealous)
Unyana wami uthathile (My son has had a good catch)
Bengingazi ngiyombon’umakoti (I never thought I’d see a daughter in law)
Unyana wam eh ujongile this time (My son has been accepted (woman said yes))
Makgadi fele usenzo s’cede (Help us finish the ceremony (you are welcome))
Uzemshadweni ngiyashadisa namhlanje (Come to the wedding, I’m taking
my son to the altar today)
Bebesithi unyana wam lisoka (People said my son is (someone who
doesn’t get women)
Bebesithi angeke ashade vul’indlela (People said he would never get married but open the gates)
****
Thanks visiting pancocojams.
Viewer comments are welcome.
This pancocojams post showcases the song "Vulindlela" by South African singer Brenda Fassie.
Information about Brenda Fassie is also included in this post along with lyrics for this song.
The content of this post is presented for cultural, entertainment, and aesthetic purposes.
All copyrights remain with their owners.
Thanks to Brenda Fassie for her musical legacy. Thanks also to all those who are quoted in this post and thanks to the publisher of this video on YouTube.
****
INFORMATION ABOUT BRENDA FASSIE
From http://en.wikipedia.org/wiki/Brenda_Fassie
"Brenda Fassie (3 November 1964 – 9 May 2004)[1] was an anti-apartheid South African Afropop singer.[2] Her bold stage antics earned a reputation for "outrageousness".[3] Affectionately called Mabrr by her fans, she was sometimes described as the "Queen of African Pop"...
Fassie was born in Langa, Cape Town,[4] as the youngest of nine children. She was named after the American singer Brenda Lee...
With very outspoken views and frequent visits to the poorer townships of Johannesburg, as well as songs about life in the townships, she enjoyed tremendous popularity. Known best for her songs "Weekend Special" and "Too Late for Mama", she was dubbed "The Madonna of the Townships" by Time in 2001...
From 1996 she released several solo albums, including Now Is the Time, Memeza (1997), and Nomakanjani?. Most of her albums became multi-platinum sellers in South Africa"...
-snip-
From http://richmondsajini.wordpress.com/2011/11/03/13/
..."One of a kind! Many said that Brenda was the “Madonna of the townships” but for me she was more than that. She was our own Michael Jackson. Brenda was THE QUEEN! Many tried to be like her and many have been accused of trying to be her yet none of them has the energy that she had on stage. Lebo Mathosa came very close, but she was just not Brenda.
Style icon! Whatever outfit MaBrrr was rocking, it was sure to be a trend. My mom recalls wanting a pair of shorts she saw Brenda wearing in a picture in the 80s. The desire for these short shorts spread like wildfire and it became a trend. Then Brenda went on to rock a blonde hairstyle. Best believe, this too became a trend."...
FEATURED SONG: VULINDLELA-BRENDA FASSIE
SPHERNO, Uploaded on Jul 1, 2011
R.I.P BRENDA FASIE,AFRICA WILL ALWAYS REMEMBER YOU.
****
INFORMATION ABOUT & LYRICS TO "VULINDLELA"
From http://livingladolcevita.wordpress.com/2006/08/15/27/
sundayschild, 15 August 2006
"And vulindlela means ‘clear the way’ or clean the path."
sundayschild (16 August 2006)
"on multiple levels – in one sense clearing the path for the [newly married]* couple to walk down, in another clearing the way for the start of a new life… it’s about clearing things up so there’s room for (positive) change, which is why the ANC appropriated the song for its ’99 election campaign…
it’s a GREAT track (but then most of Ma Brrrrrr’s are…)"
-snip-
*I added the words in brackets which are implied from the preceding comments.
-snip-
From http://1001sasongs.wordpress.com/2011/06/30/vulindlela-%E2%80%93-brenda-fassie/
"Listening to Vulindlela, it’s quite hard to believe that someone who had so many problems in life could sing so beautifully, but Brenda Fassie’s vocals on this track are hauntingly so. Set against a decidedly danceable synth background, the song epitomises the township sound of the late 90s.
You don’t have to understand the words to be moved by the song. Check out the Youtube video link below and you will see comments from people from Somalia, Kenya, Nigeria, Sierra Leone and Cameroon to name a few. Brenda was huge throughout Africa, and Vulindlela is widely appreciated around the globe.
A month after her death on 26 April 2004, the song was voted Song of the Decade at the South African Music Awards. It is highly likely that the emotional outpouring that followed her death led to this vote, however, that should not distract one from the fact that it would probably have been a contender for the award anyway…
Lyrics:
Vul’indlela wemamgobhozi (Open the gates, Miss Gossip)
He unyana wam (My baby boy)
Helele uyashada namhlanje (Is getting married today)
Vul’indlela wela ma ngiyabuza (Open the gates please)
Msuba nomona (Don’t be jealous)
Unyana wami uthathile (My son has had a good catch)
Bengingazi ngiyombon’umakoti (I never thought I’d see a daughter in law)
Unyana wam eh ujongile this time (My son has been accepted (woman said yes))
Makgadi fele usenzo s’cede (Help us finish the ceremony (you are welcome))
Uzemshadweni ngiyashadisa namhlanje (Come to the wedding, I’m taking
my son to the altar today)
Bebesithi unyana wam lisoka (People said my son is (someone who
doesn’t get women)
Bebesithi angeke ashade vul’indlela (People said he would never get married but open the gates)
****
Thanks visiting pancocojams.
Viewer comments are welcome.
Mafikizolo - Kwela (South Africa), video & comments
Edited by Azizi Powell
This is Part II of a two part post on songs entitled "Kwela".
This post showcases the song "Kwela" by the South African group Mafikizolo. This post also included information about Makifizolo and their style of music as well as selected comments from this song's YouTube video viewer comment thread.
Click http://pancocojams.blogspot.com/2013/01/harry-belafonte-kwela-listen-to-man.html for a post on Harry Belafonte-"Kwela" ("Listen To The Man"), lyrics & comments.
The content of this post is presented for historical, entertainment, and aesthetic purposes.
All copyrights remain with their owners.
INFORMATION ABOUT MAFIKIZOLO
From http://en.wikipedia.org/wiki/Mafikizolo_(South_African_group)
"Mafikizolo is a popular in South African group that started small in the 90s. The members of this group are Theo Kgosinkwe, Nhlanhla Nciza, and Tebogo Madingoane. The genre of music this group makes is called kwaito, which is an African type of house music. Their music has fans dancing and singing along to the beat. The group has been in the industry for many years and where signed by Kalawa, a South African record company. The trio consisting of a female, Nhlanhla and two males Theo, and Tebogo have been a sensation; their unique music style attracts both young and old fans"...
INFORMATION ABOUT KWAITO MUSIC
From http://en.wikipedia.org/wiki/Kwaito
"Kwaito is a music genre that emerged in Johannesburg, South Africa, during the 1990s. It is a variant of house music featuring the use of African sounds and samples. Typically at a slower tempo range than other styles of house music, Kwaito often contains catchy melodic and percussive loop samples, deep bass lines, and vocals. Although bearing similarities to hip hop music, a distinctive feature of Kwaito is the manner in which the lyrics are sung, rapped and shouted. American producer Diplo has described Kwaito as "slowed-down garage music," most popular among the black youth of South Africa."
INFORMATION ABOUT THE WORD "KWELA"
From http://en.wikipedia.org/wiki/Kwela
"Kwela is a pennywhistle-based, street music from southern Africa with jazzy underpinnings and a distinctive, skiffle-like beat. It evolved from the marabi sound and brought South African music to international prominence in the 1950s...
South Africa has many meanings of words, but for this, it mainly and the most common is [sic]The word "kwela" is taken from the Zulu for "get up", though in township slang it also referred to the police vans, the "kwela-kwela". Thus, it could be an invitation to join the dance, as well as serving as a warning. It is said that the young men who played the pennywhistle on street corners also acted as lookouts to warn those enjoying themselves in the shebeens of the arrival of the police.[1]"
-snip-
From http://en.wikipedia.org/wiki/Music_of_South_Africa
"The first major style of South African popular music to emerge was pennywhistle jive (later known as kwela). Black cattle-herders had long played a three-holed reed flute, adopting a six-holed flute when they moved to the cities. Willard Cele is usually credited with creating pennywhistle by placing the six-holed flute between his teeth at an angle. Cele spawned a legion of imitators and fans, especially after appearing in the 1951 film The Magic Garden.
Groups of flautists played on the streets of South African cities in the 1950s, many of them in white areas, where police would arrest them for creating a public disturbance. Some young whites were attracted to the music, and came to be known as ducktails"...
FEATURED VIDEO: Kwela
skweeza Uploaded on Jan 2, 2007
mafikizolo
-snip-
This is the name of that South African vocal group that recorded this song.
****
SELECTED COMMENTS FROM THIS VIDEO'S YOUTUBE VIEWER COMMENT THREAD
(These comments are from a video that was deleted (as of December 15, 2013 if not earlier). These comments are presented in chronological order by the year of their posting, with the oldest comments given first.)
babybunnyberry, 2010
"It's about being arrested for breaking curfew in South Africa, during apartheid. Kwela is the name of the rhythm, but also refers to the kwela-kwela, the police vans."
**
TheLastYogurt, 2010
"Mafikizolo is the name of the band. Kwela is both the style of music and the name of the album (released in 2003). The name of the song is "Kwela Kwela", which is a pun (as babybunnyberry pointed) because of the double meaning of the word 'kwela'. :) Mafikizolo are in iTunes, but I don't think iTunes has this song.")
**
ProfRonanMC, 2012
"Mafikizolo beautifully recreate the sound of fifties South African music with the legendary Hugh Masekela making a star appearance. And, damn!, they're good at it!"
**
Grasswa Basson, 2012
"Their music is also influenced by kwaito and they have been credited with a genre called Kwela after their style of music. It has been described as kwaito-cum-marabi house music. Their music deals with pertinent social issues such as women and children abuse, poverty, the importance of education and the dangers of casual sex. They have performed all over Southern Africa and have a fan base all over the world."
**
njplr, 2012
"Well, I'm not South African or anything, but I THINK kwela is both a style of music (such as this song) with a rollicking rhythm, and ALSO it was people yell in the streets at the approach of the cops (like FIVE OH, or, in NY they yell "bajando") which kinda fits right into the video."
**
rakefarm, 2012
Kwela means 'get up'. The police were called the 'kwela kwela' meaning you had to get up as they were coming!
**
Sizwe Mahokoto, 2012
kwela means "get on" not get up... since it was usual that the police van was taking blacks for no reason they decide that whenever they see a police van, it was give that they will get on... the real original Xhosa word is "khwela"
**
AfrikaZW, 2013
"Definitely one of the best songs out there, but with a very heavy message
Nanka amapoyisa efika ebengena mama ngekwela kwelaa - here come the policemen, bhold kwelakwela
the other part is in Afrikaans, the police asking about the dompass
Hugh talks of disrespect shown by the guards, abusing the parents (our mothers) throwing them in jail for selling traditional beer (to support their kids)
Ask Nelson Mandela, ask Sizulu (Walter), and Tambo (Oliver) they all know about Kwela kwela..."
ACKNOWLEDGEMENT AND THANKS
Thanks to Mafikizolo and their special guest artist, Hugh Masekela. Thanks to the composer of this song, the producer of this video, the uploader of this video. Thanks also to those whose wrote information or comments that are quoted in this post.
Also, thank you for visiting pancocojams.
Viewer comments are welcome
This is Part II of a two part post on songs entitled "Kwela".
This post showcases the song "Kwela" by the South African group Mafikizolo. This post also included information about Makifizolo and their style of music as well as selected comments from this song's YouTube video viewer comment thread.
Click http://pancocojams.blogspot.com/2013/01/harry-belafonte-kwela-listen-to-man.html for a post on Harry Belafonte-"Kwela" ("Listen To The Man"), lyrics & comments.
The content of this post is presented for historical, entertainment, and aesthetic purposes.
All copyrights remain with their owners.
INFORMATION ABOUT MAFIKIZOLO
From http://en.wikipedia.org/wiki/Mafikizolo_(South_African_group)
"Mafikizolo is a popular in South African group that started small in the 90s. The members of this group are Theo Kgosinkwe, Nhlanhla Nciza, and Tebogo Madingoane. The genre of music this group makes is called kwaito, which is an African type of house music. Their music has fans dancing and singing along to the beat. The group has been in the industry for many years and where signed by Kalawa, a South African record company. The trio consisting of a female, Nhlanhla and two males Theo, and Tebogo have been a sensation; their unique music style attracts both young and old fans"...
INFORMATION ABOUT KWAITO MUSIC
From http://en.wikipedia.org/wiki/Kwaito
"Kwaito is a music genre that emerged in Johannesburg, South Africa, during the 1990s. It is a variant of house music featuring the use of African sounds and samples. Typically at a slower tempo range than other styles of house music, Kwaito often contains catchy melodic and percussive loop samples, deep bass lines, and vocals. Although bearing similarities to hip hop music, a distinctive feature of Kwaito is the manner in which the lyrics are sung, rapped and shouted. American producer Diplo has described Kwaito as "slowed-down garage music," most popular among the black youth of South Africa."
INFORMATION ABOUT THE WORD "KWELA"
From http://en.wikipedia.org/wiki/Kwela
"Kwela is a pennywhistle-based, street music from southern Africa with jazzy underpinnings and a distinctive, skiffle-like beat. It evolved from the marabi sound and brought South African music to international prominence in the 1950s...
South Africa has many meanings of words, but for this, it mainly and the most common is [sic]The word "kwela" is taken from the Zulu for "get up", though in township slang it also referred to the police vans, the "kwela-kwela". Thus, it could be an invitation to join the dance, as well as serving as a warning. It is said that the young men who played the pennywhistle on street corners also acted as lookouts to warn those enjoying themselves in the shebeens of the arrival of the police.[1]"
-snip-
From http://en.wikipedia.org/wiki/Music_of_South_Africa
"The first major style of South African popular music to emerge was pennywhistle jive (later known as kwela). Black cattle-herders had long played a three-holed reed flute, adopting a six-holed flute when they moved to the cities. Willard Cele is usually credited with creating pennywhistle by placing the six-holed flute between his teeth at an angle. Cele spawned a legion of imitators and fans, especially after appearing in the 1951 film The Magic Garden.
Groups of flautists played on the streets of South African cities in the 1950s, many of them in white areas, where police would arrest them for creating a public disturbance. Some young whites were attracted to the music, and came to be known as ducktails"...
FEATURED VIDEO: Kwela
skweeza Uploaded on Jan 2, 2007
mafikizolo
-snip-
This is the name of that South African vocal group that recorded this song.
****
SELECTED COMMENTS FROM THIS VIDEO'S YOUTUBE VIEWER COMMENT THREAD
(These comments are from a video that was deleted (as of December 15, 2013 if not earlier). These comments are presented in chronological order by the year of their posting, with the oldest comments given first.)
babybunnyberry, 2010
"It's about being arrested for breaking curfew in South Africa, during apartheid. Kwela is the name of the rhythm, but also refers to the kwela-kwela, the police vans."
**
TheLastYogurt, 2010
"Mafikizolo is the name of the band. Kwela is both the style of music and the name of the album (released in 2003). The name of the song is "Kwela Kwela", which is a pun (as babybunnyberry pointed) because of the double meaning of the word 'kwela'. :) Mafikizolo are in iTunes, but I don't think iTunes has this song.")
**
ProfRonanMC, 2012
"Mafikizolo beautifully recreate the sound of fifties South African music with the legendary Hugh Masekela making a star appearance. And, damn!, they're good at it!"
**
Grasswa Basson, 2012
"Their music is also influenced by kwaito and they have been credited with a genre called Kwela after their style of music. It has been described as kwaito-cum-marabi house music. Their music deals with pertinent social issues such as women and children abuse, poverty, the importance of education and the dangers of casual sex. They have performed all over Southern Africa and have a fan base all over the world."
**
njplr, 2012
"Well, I'm not South African or anything, but I THINK kwela is both a style of music (such as this song) with a rollicking rhythm, and ALSO it was people yell in the streets at the approach of the cops (like FIVE OH, or, in NY they yell "bajando") which kinda fits right into the video."
**
rakefarm, 2012
Kwela means 'get up'. The police were called the 'kwela kwela' meaning you had to get up as they were coming!
**
Sizwe Mahokoto, 2012
kwela means "get on" not get up... since it was usual that the police van was taking blacks for no reason they decide that whenever they see a police van, it was give that they will get on... the real original Xhosa word is "khwela"
**
AfrikaZW, 2013
"Definitely one of the best songs out there, but with a very heavy message
Nanka amapoyisa efika ebengena mama ngekwela kwelaa - here come the policemen, bhold kwelakwela
the other part is in Afrikaans, the police asking about the dompass
Hugh talks of disrespect shown by the guards, abusing the parents (our mothers) throwing them in jail for selling traditional beer (to support their kids)
Ask Nelson Mandela, ask Sizulu (Walter), and Tambo (Oliver) they all know about Kwela kwela..."
ACKNOWLEDGEMENT AND THANKS
Thanks to Mafikizolo and their special guest artist, Hugh Masekela. Thanks to the composer of this song, the producer of this video, the uploader of this video. Thanks also to those whose wrote information or comments that are quoted in this post.
Also, thank you for visiting pancocojams.
Viewer comments are welcome
Saturday, January 26, 2013
Harry Belafonte- "Kwela" ("Listen To The Man"), lyrics & comments
Edited by Azizi Powell
This post is Part I in a two part series that showcase two songs that are entitled "Kwela".
Part I of this series showcases a video of, information about, and English lyrics for the song "Kwela" as performed by world renown singer, actor, and activist Harry Belafonte. That song's lyrics, and my comments about the meaning of several words in that song are also included in this post.
Click http://pancocojams.blogspot.com/2013/01/mafikizolo-kwela-south-africa-video.html for Part II of this series features the song "Kwela" as performed by the South African group Mafikizolo. The Mafikizolo video "Kwela" also features the legendary South African musician & vocalist Hugh Masekela.
The content of this post is presented for historical, entertainment, and aesthetic purposes.
All copyrights remain with their owners.
FEATURED VIDEO: Harry Belafonte - Kwela
henkrut, Published on Mar 30, 2012
Live On Dutch TV
-snip-
This video includes Dutch* subtitles.
*I think this language is Dutch.
-snip-
Click http://www.youtube.com/watch?v=k6_bYQOU3-Y for a video of a 1997 concert performance of Harry Belafonte singing "Kwela" ("Listen To The Man").
LYRICS: KWELA (LISTEN TO THE MAN)
Songwriters: JAKE HOLMES, S.M. NKABINDE
Here comes the doo doo, flying up the street
Running like the fire burning on his feet
Casting his eye left to the right
Looking for a place he can duck out of sight
Here come the goomba goomba, rumbling up the road
Looking for somebody to fill up the load
A big fat cat he had, get off the bag
Scooping up the striker, lest given him a whack
Come on boy, jump inside
Come on, boy, we gonna take you for a ride
It's an excursion, where you don't have to pay
At the end of the line you'll find a place to stay
(Kwela, kwela)
You better listen to the man
(Kwela, kwela)
Everybody jump in the van
(Kwela-la, kwela-la, oh, kwela-la)
You better listen to the man
(And we're shouting kwela-la, kwela-la)
Everybody jump in the van
Now, doo doo, he doin', doin' pretty well
He got a private room at the the Blue Hotel
Everyday he gets a complimentary meal
Maybe check out soon if can make a deal
He wanna play music out on the street
I'm sure you got your Nike's tight on your feet
Better make sure that you stay outta sight
For the Chakalas when he got a big appetite
Come on boy, jump inside
Come on, boy, we gotta take you for a ride
It's an excursion where you don't have to pay
At the end of the line you'll find a place to stay
(Kwela, kwela)
You better listen to the man
(Kwela, Kwela)
Everybody jump in the van
(Kwela-la, kwela-la, oh, kwela-la)
You better listen to the man
(Keep on shouting kwela-la, kwela-la)
Everybody jump in the van
Come on boy, jump inside
Come on, boy, we gonna take you for a ride
It's an excursion where you don't have to pay
At the end of the line you'll find a place to stay
(Kwela, kwela)
You better listen to the man
(Kwela, kwela)
Everybody jump in the van
I said, you better, you better
(Kwela-la, kwela-la, oh, kwela-la)
You better listen to the man
(Keep on shouting kwela-la, kwela-la)
Everybody, everybody, everybody jump in the van
I said, hey, doo doo, hey, doo doo
(Kwela, kwela)
You better listen to the man
Hey, doo doo, hey, doo doo
(Kwela, kwela)
Everybody jump in the van
I said, hey, doo doo, hey, doo doo
(Kwela-la, kwela-la, oh, kwela-la)
You better listen to the man
(Keep on shouting, kwela-la, kwela-la)
Hey, doo doo, hey, doo doo
Everybody jump in the van
Kwe-kwe-kwela, kiwela kwela
Kwe-kwe-kwela, kiwela kwela
Kwe-kwe-kwela, kiwela kwela
Kwe-kwe-kwela, kiwela kwela
You gotta jump down, turn around, pick a pocket
Jump, turn, I wanna lay
You gotta jump and turn, pick a pocket
Jump, turn, I wanna lay
You gotta jump and turn, pick a pocket
Jump, turn, I wanna lay
You gotta jump and turn, pick a pocket
Jump, turn, I wanna lay
Pick it, I wanna lay
Pick it
Hey, doo doo, hey, doo doo
You better listen to the man
Hey, doo doo, hey, doo doo
Everybody jump in the van
I said, you better, you better
(Kwela, kwela)
You better listen to the man
Everybody, everybody
(Kwela, kwela)
Everybody jump in the van
I said, hey doo doo, hey, doo doo
(Kwe-kwe-kwela, kiwela kwela)
You better listen to the man
Hey, doo doo, hey, doo doo
(Kwe-kwe-kwela, kiwela kwela)
Everybody jump in the van
Lyrics from http://www.lyricsmode.com/lyrics/h/harry_belafonte/kwela_listen_to_the_man.html
-snip-
Another online lyric site, http://www.elyrics.net/read/h/harry-belafonte-lyrics/kwela-(listen-to-the-man)-lyrics.html provides this information about Harry Belafonte's song "Kwela"
"Album: An Evening With Harry Belafonte & Friends / Original Release Date: 1997-08-26
Genre: Vocal / Label: 1997 The Island Def Jam Music Group".
****
Here's my interpretation of the colloquial words that are found in Harry Belafonte's "Kwela" ("Listen To The Man")
Kwela (Listen To The Man) is a danceable song (1) with a rather esoterically given commentary about the oppressive conditions under which Black people lived in apartheid South Africa. I use past tense because apartheid is said to have ended in 1994(2) while this song's date is given as 1997.
(1) This song may be an example of the South African rhythm called "Kwela", perhaps also with touch of Mento/Calypso-like Caribbean rhythm since this is Harry Belafonte singing. I'm not sure what genre of music this song fits into. If anyone knows, please share that information in the comment section.
-snip-
Notice that a musician is playing a "kwela" (pennywhistle) in the video of this song that is embedded in this post.
(2)Click http://en.wikipedia.org/wiki/Apartheid_in_South_Africa to read about apartheid.
**
In the context of this song, "kwela" and "kwela kwela" in the context of this song refer to the South African Apolice van, and/or the police.
From http://en.wikipedia.org/wiki/Kwela
"Kwela is a pennywhistle-based, street music from southern Africa with jazzy underpinnings and a distinctive, skiffle-like beat. It evolved from the marabi sound and brought South African music to international prominence in the 1950s...
South Africa has many meanings of words, but for this, it mainly and the most common is [sic]The word "kwela" is taken from the Zulu for "get up", though in township slang it also referred to the police vans, the "kwela-kwela". Thus, it could be an invitation to join the dance, as well as serving as a warning. It is said that the young men who played the pennywhistle on street corners also acted as lookouts to warn those enjoying themselves in the shebeens of the arrival of the police.[1]"
-snip-
Along with "kwela and "kwela kwela" "Goomba goomba", "jump in the van" also refer to police vans. I don't know the derivation of the double noun "goomba goomba" comes from, but the phrase "jump in the line" is a nod to one of Harry Belafonte's hit songs "Jump In The Line".
**
In this song, "The Man" means "The White man" (or "White men") who are (were) representative of the repression of apartheid South Africa. In this and in other usages, "the man" is a shortened form of "the man who is in charge."
**
In the context of this song, "doo doo" is a referent for a Black man (or "Black men"). "Doo doo" here is a shortened form of the doo doo bird. As such, in this song "doo doo" means "a foolish man who thinks that he can survive South Africa's system by engaging in illegal activities such as picking pockets.
Other meanings for "doo doo" or "dou dou" which are compltely unrelated to this song are given in this post's Addendum.
**
The lines "A big fat cat he had/ get off the bag/Scooping up the striker" refers to the police van grabbing up other people.
**
The word "Chakalas" in the lines "Better make sure that you stay outta sight/For the Chakalas when he got a big appetite" also refers to the police vans or the police. I don't know what the derivation is for the word "chakalas".
**
"The Blue Hotel" refers to prison. I'm not sure why that is.
ADDENDUM
Here are other meanings for the words "Doo Doo" and "Dou Dou"
Here some additional information about the word "doo doo", the nicknamee "Dou Dou", and the word "dou dou":
"Doo doo" - a Caribbean Creole [patois] for "my darling" (sweetheart). Click http://www.izatrini.com/trini_dictionary.html and http://answers.yahoo.com/question/index?qid=20080208082428AAvpblp
Also, from http://babyology.com.au/toys/doudou-french-for-a-beloved-snuggly.html "The most treasured item in a child’s life can be anything from a cute cuddly to a tatty old blanket (moi!) or a well-loved dolly. In France, this item is called a ‘doudou’ and it’s THE mission of parents to locate the perfect one before baby is born."
Click http://en.wikipedia.org/wiki/Doudou" for a list of famous people with the nickname “Dou Dou”.
An example of a famous person with the nickname "Dou Dou" is http://en.wikipedia.org/wiki/Doudou_N'Diaye_Rose "Doudou Ndiaye Rose (28 July 1930), born Mamadou Ndiaye in Dakar, is Senegalese drummer composer and band leader, and is the recognized modern master of Senegal's traditional drum, the sabar"...
With regard to the word "doo doo", it's my position that the word "doo doo", meaning "sweetheart" is also found in several American shanty songs. I believe that one such song is "Yeller Gels Doodle Let Me Go". Click http://mudcat.org/thread.cfm?threadid=49421#2585472 Lyr Req: Yeller Gals - Doodle or Do Not?Yeller Girl" to find one of my comments about the meaning of the word "doo doo" in that shanty.
Incidentally, it's indisputable that the term "yellow girls" in that above mentioned shanty, and in other 19th century Black American and & Caribbean songs means "a light skinned Black female, usually of mixed Black/non-Black ancestry".
Finally [with regard to this addendum], a comment in http://forum.wordreference.com/showthread.php?t=21659 indicates that in France "Dou Dou" is sometimes a nickname for "Edouard".
RELATED LINK
http://pancocojams.blogspot.com/2013/01/mafikizolo-kwela-south-africa-video.html Mafikizolo - Kwela (South Africa), video & comments
ACKNOWLEDGEMENT AND THANKS
Thanks to Harry Belafonte and other vocalists & musicians in this post's featured video. Thanks to the composers of this song and the transcriber of that song. In addition, thanks to those whose wrote information or comments that are quoted in this post.
Also, thank you for visiting pancocojams.
Viewer comments are welcome
This post is Part I in a two part series that showcase two songs that are entitled "Kwela".
Part I of this series showcases a video of, information about, and English lyrics for the song "Kwela" as performed by world renown singer, actor, and activist Harry Belafonte. That song's lyrics, and my comments about the meaning of several words in that song are also included in this post.
Click http://pancocojams.blogspot.com/2013/01/mafikizolo-kwela-south-africa-video.html for Part II of this series features the song "Kwela" as performed by the South African group Mafikizolo. The Mafikizolo video "Kwela" also features the legendary South African musician & vocalist Hugh Masekela.
The content of this post is presented for historical, entertainment, and aesthetic purposes.
All copyrights remain with their owners.
FEATURED VIDEO: Harry Belafonte - Kwela
henkrut, Published on Mar 30, 2012
Live On Dutch TV
-snip-
This video includes Dutch* subtitles.
*I think this language is Dutch.
-snip-
Click http://www.youtube.com/watch?v=k6_bYQOU3-Y for a video of a 1997 concert performance of Harry Belafonte singing "Kwela" ("Listen To The Man").
LYRICS: KWELA (LISTEN TO THE MAN)
Songwriters: JAKE HOLMES, S.M. NKABINDE
Here comes the doo doo, flying up the street
Running like the fire burning on his feet
Casting his eye left to the right
Looking for a place he can duck out of sight
Here come the goomba goomba, rumbling up the road
Looking for somebody to fill up the load
A big fat cat he had, get off the bag
Scooping up the striker, lest given him a whack
Come on boy, jump inside
Come on, boy, we gonna take you for a ride
It's an excursion, where you don't have to pay
At the end of the line you'll find a place to stay
(Kwela, kwela)
You better listen to the man
(Kwela, kwela)
Everybody jump in the van
(Kwela-la, kwela-la, oh, kwela-la)
You better listen to the man
(And we're shouting kwela-la, kwela-la)
Everybody jump in the van
Now, doo doo, he doin', doin' pretty well
He got a private room at the the Blue Hotel
Everyday he gets a complimentary meal
Maybe check out soon if can make a deal
He wanna play music out on the street
I'm sure you got your Nike's tight on your feet
Better make sure that you stay outta sight
For the Chakalas when he got a big appetite
Come on boy, jump inside
Come on, boy, we gotta take you for a ride
It's an excursion where you don't have to pay
At the end of the line you'll find a place to stay
(Kwela, kwela)
You better listen to the man
(Kwela, Kwela)
Everybody jump in the van
(Kwela-la, kwela-la, oh, kwela-la)
You better listen to the man
(Keep on shouting kwela-la, kwela-la)
Everybody jump in the van
Come on boy, jump inside
Come on, boy, we gonna take you for a ride
It's an excursion where you don't have to pay
At the end of the line you'll find a place to stay
(Kwela, kwela)
You better listen to the man
(Kwela, kwela)
Everybody jump in the van
I said, you better, you better
(Kwela-la, kwela-la, oh, kwela-la)
You better listen to the man
(Keep on shouting kwela-la, kwela-la)
Everybody, everybody, everybody jump in the van
I said, hey, doo doo, hey, doo doo
(Kwela, kwela)
You better listen to the man
Hey, doo doo, hey, doo doo
(Kwela, kwela)
Everybody jump in the van
I said, hey, doo doo, hey, doo doo
(Kwela-la, kwela-la, oh, kwela-la)
You better listen to the man
(Keep on shouting, kwela-la, kwela-la)
Hey, doo doo, hey, doo doo
Everybody jump in the van
Kwe-kwe-kwela, kiwela kwela
Kwe-kwe-kwela, kiwela kwela
Kwe-kwe-kwela, kiwela kwela
Kwe-kwe-kwela, kiwela kwela
You gotta jump down, turn around, pick a pocket
Jump, turn, I wanna lay
You gotta jump and turn, pick a pocket
Jump, turn, I wanna lay
You gotta jump and turn, pick a pocket
Jump, turn, I wanna lay
You gotta jump and turn, pick a pocket
Jump, turn, I wanna lay
Pick it, I wanna lay
Pick it
Hey, doo doo, hey, doo doo
You better listen to the man
Hey, doo doo, hey, doo doo
Everybody jump in the van
I said, you better, you better
(Kwela, kwela)
You better listen to the man
Everybody, everybody
(Kwela, kwela)
Everybody jump in the van
I said, hey doo doo, hey, doo doo
(Kwe-kwe-kwela, kiwela kwela)
You better listen to the man
Hey, doo doo, hey, doo doo
(Kwe-kwe-kwela, kiwela kwela)
Everybody jump in the van
Lyrics from http://www.lyricsmode.com/lyrics/h/harry_belafonte/kwela_listen_to_the_man.html
-snip-
Another online lyric site, http://www.elyrics.net/read/h/harry-belafonte-lyrics/kwela-(listen-to-the-man)-lyrics.html provides this information about Harry Belafonte's song "Kwela"
"Album: An Evening With Harry Belafonte & Friends / Original Release Date: 1997-08-26
Genre: Vocal / Label: 1997 The Island Def Jam Music Group".
****
Here's my interpretation of the colloquial words that are found in Harry Belafonte's "Kwela" ("Listen To The Man")
Kwela (Listen To The Man) is a danceable song (1) with a rather esoterically given commentary about the oppressive conditions under which Black people lived in apartheid South Africa. I use past tense because apartheid is said to have ended in 1994(2) while this song's date is given as 1997.
(1) This song may be an example of the South African rhythm called "Kwela", perhaps also with touch of Mento/Calypso-like Caribbean rhythm since this is Harry Belafonte singing. I'm not sure what genre of music this song fits into. If anyone knows, please share that information in the comment section.
-snip-
Notice that a musician is playing a "kwela" (pennywhistle) in the video of this song that is embedded in this post.
(2)Click http://en.wikipedia.org/wiki/Apartheid_in_South_Africa to read about apartheid.
**
In the context of this song, "kwela" and "kwela kwela" in the context of this song refer to the South African Apolice van, and/or the police.
From http://en.wikipedia.org/wiki/Kwela
"Kwela is a pennywhistle-based, street music from southern Africa with jazzy underpinnings and a distinctive, skiffle-like beat. It evolved from the marabi sound and brought South African music to international prominence in the 1950s...
South Africa has many meanings of words, but for this, it mainly and the most common is [sic]The word "kwela" is taken from the Zulu for "get up", though in township slang it also referred to the police vans, the "kwela-kwela". Thus, it could be an invitation to join the dance, as well as serving as a warning. It is said that the young men who played the pennywhistle on street corners also acted as lookouts to warn those enjoying themselves in the shebeens of the arrival of the police.[1]"
-snip-
Along with "kwela and "kwela kwela" "Goomba goomba", "jump in the van" also refer to police vans. I don't know the derivation of the double noun "goomba goomba" comes from, but the phrase "jump in the line" is a nod to one of Harry Belafonte's hit songs "Jump In The Line".
**
In this song, "The Man" means "The White man" (or "White men") who are (were) representative of the repression of apartheid South Africa. In this and in other usages, "the man" is a shortened form of "the man who is in charge."
**
In the context of this song, "doo doo" is a referent for a Black man (or "Black men"). "Doo doo" here is a shortened form of the doo doo bird. As such, in this song "doo doo" means "a foolish man who thinks that he can survive South Africa's system by engaging in illegal activities such as picking pockets.
Other meanings for "doo doo" or "dou dou" which are compltely unrelated to this song are given in this post's Addendum.
**
The lines "A big fat cat he had/ get off the bag/Scooping up the striker" refers to the police van grabbing up other people.
**
The word "Chakalas" in the lines "Better make sure that you stay outta sight/For the Chakalas when he got a big appetite" also refers to the police vans or the police. I don't know what the derivation is for the word "chakalas".
**
"The Blue Hotel" refers to prison. I'm not sure why that is.
ADDENDUM
Here are other meanings for the words "Doo Doo" and "Dou Dou"
Here some additional information about the word "doo doo", the nicknamee "Dou Dou", and the word "dou dou":
"Doo doo" - a Caribbean Creole [patois] for "my darling" (sweetheart). Click http://www.izatrini.com/trini_dictionary.html and http://answers.yahoo.com/question/index?qid=20080208082428AAvpblp
Also, from http://babyology.com.au/toys/doudou-french-for-a-beloved-snuggly.html "The most treasured item in a child’s life can be anything from a cute cuddly to a tatty old blanket (moi!) or a well-loved dolly. In France, this item is called a ‘doudou’ and it’s THE mission of parents to locate the perfect one before baby is born."
Click http://en.wikipedia.org/wiki/Doudou" for a list of famous people with the nickname “Dou Dou”.
An example of a famous person with the nickname "Dou Dou" is http://en.wikipedia.org/wiki/Doudou_N'Diaye_Rose "Doudou Ndiaye Rose (28 July 1930), born Mamadou Ndiaye in Dakar, is Senegalese drummer composer and band leader, and is the recognized modern master of Senegal's traditional drum, the sabar"...
With regard to the word "doo doo", it's my position that the word "doo doo", meaning "sweetheart" is also found in several American shanty songs. I believe that one such song is "Yeller Gels Doodle Let Me Go". Click http://mudcat.org/thread.cfm?threadid=49421#2585472 Lyr Req: Yeller Gals - Doodle or Do Not?Yeller Girl" to find one of my comments about the meaning of the word "doo doo" in that shanty.
Incidentally, it's indisputable that the term "yellow girls" in that above mentioned shanty, and in other 19th century Black American and & Caribbean songs means "a light skinned Black female, usually of mixed Black/non-Black ancestry".
Finally [with regard to this addendum], a comment in http://forum.wordreference.com/showthread.php?t=21659 indicates that in France "Dou Dou" is sometimes a nickname for "Edouard".
RELATED LINK
http://pancocojams.blogspot.com/2013/01/mafikizolo-kwela-south-africa-video.html Mafikizolo - Kwela (South Africa), video & comments
ACKNOWLEDGEMENT AND THANKS
Thanks to Harry Belafonte and other vocalists & musicians in this post's featured video. Thanks to the composers of this song and the transcriber of that song. In addition, thanks to those whose wrote information or comments that are quoted in this post.
Also, thank you for visiting pancocojams.
Viewer comments are welcome
Friday, January 25, 2013
Why “Brick House” Didn’t Become A Widely Accepted Slang Term
Written by Azizi Powell
“Brick house” is a complimentary descriptive referent for certain females which was coined by Shirley Hanna-King, the wife of a member of the R&B group “The Commodores”. According to that usage, "brick house" (also found as "brickhouse") [noun] is a curvaceous, "stacked", attractive female.
There are anecdotal statements on the Commodore's "Brick House" YouTube video viewer comment threads from women who remember being called a “brickhouse” after that record was released. There are also comments on those discussion threads from women who having heard that record, claim that they are a “brickhouse”. However, even in those discussion threads, it appears that a lot of viewers of the Commodores’ “Brick House” video, and/or listeners of the “Brick House” sound file aren’t sure what “brick house” (“brick house”) means in relation to females.
Clearly, “brick house” (or “brickhouse”) didn’t make into the A level of slang terms, that is - words or phrases that have been coined by African Americans relatively recently which have been quickly accepted by that population: words such as “old school”, “shout out”, and “bling” (or “bling bling”). Another A level slang category that “brick house”, “brickhouse” failed to achieve is words or phrases that were well known and have been used for a period of time by African Americans but have since largely been retired by that population: words such as “Yo!”, “Word up!”, and “out of sight”.
Of course, since “brick house” (or “brickhouse”) didn’t make it into the A level of slang terms, it certainly didn’t make it into the A+ level - slang terms that are well known by African Americans and are still used after a considerable amount of time; words and phrases like “jive”, “jam”, and “funky".
Many words from both of those A levels have been adopted by non-African Americans who may not use them correctly and may continue to use them long after African Americans have moved on to other slang terms – words like “dig”, “cool”, and “hip”. But “brick house” (“brickhouse”) doesn’t have anywhere near the status of any of those African American slang terms.
In this post, I attempt to delineate my thoughts on why “brick house”/”brickhouse” as a referent for curvaceous women has such a low score in the world of African American slang terms.
Point #1: “Brick house” already has a well known, firmly established meaning - a building for human habitation that is made out of - “bricks”.
Axiom #1: It’s not easy to supplant a well known, firmly established definition with a newly coined word, phrase, or idiom.
**
Point #2: Both “brick” and “house” have negative colloquial connotations.
Brick - an unintelligent person. Derived from "dumb as a brick."
http://onlineslangdictionary.com/meaning-definition-of/brick
Also , “If you talk to someone and they do not listen to you, it is like talking to a brick wall”.
http://www.usingenglish.com/reference/idioms/talking+to+a+brick+wall.html
-snip-
House – as in “big as a house”:
“now and days if you call a girl a brick howse lol she going think you calling her brickhouse lol aka look big or fat lol “
-Change- bostonguy, 2011, http://www.youtube.com/watch?v=rrBx6mAWYPU Commodore’s – Brick House
Also, click http://sports.yahoo.com/blogs/nfl-shutdown-corner/hello-house-too-big-nfl-200948099--nfl.htm for an article about a male football player whose nickname is “House” who has been determined to be too big to play in the NFL.
[And yes, I recognize the built in societal assumption that females don’t want to be considered described as being big or fat. But just because that assumption isn’t right, it still exists.]
Axiom #2: It’s not easy to give a positive connotation or connotations to words, phrases, or idioms that already have a negative connotation.
**
Point #3: “The term “brick house” and “bricks” are associated with excrement:
“solid as a sh&t brick house”, and “sh&&ting bricks”.
http://www.straightdope.com/columns/read/2458/how-did-the-phrase-built-like-a-brick-shithouse-get-to-be-a-compliment
Axiom #3 [which is related to Axiom #2] Unless they are pre-teens and teenagers, or acting as though they are pre-teens or teenagers, people don’t like to be described in terms that are associated with excrement.
**
Point #4: There’s already a positive colloquial definition for “brick”, and that definition has nothing whatsoever to do with a curvaceous, attractive woman:
...“'you're a real brick' is you're really dependable, i can rely on you. “ http://forum.wordreference.com/showthread.php?t=87069
See Axiom #1.
**
Point #5: If there are already standard & colloquial terms whose meanings fit what you are trying to say, why would anyone use a term that has so much associated baggage?
See Axiom #1, #2, and #3
**
Point #6: There are numerous slang meanings for the word “house”, many of which are associated with the music genre “House” (which supposedly got its name because it first developed in the early 1980s- a few years after the Commodore’s “Brick House record - in a Chicago, Illinois (night)club named “The Warehouse”, and then in New York City, and elsewhere. For example, the saying “I’ll house you” comes from the title and lyrics of the now classic 1989 Jungle Brothers record. I gather that “I’ll house you” has both a sexual meaning and a meaning that threatens violence, and can also mean other things. But I’m not sure about that since I’m not well versed in House music vernacular. Click http://en.wikipedia.org/wiki/House_music for information about House music.
If the term “brick house” was moving toward acceptance outside of that Commodore’s song, the arrival of stronger, more widely accepted colloquial usages of the word “house” sapped what was already a weakened acceptance (because of points I already made).
Axiom #4: When it comes to newly coined words or new meanings of already established words, it’s usually a matter of the survival of the fittest.
-snip-
So, there you have it. That’s my take on why “Brick house” is a pretty good dance song, but a rather lousy slang term.
****
SHOWCASE VIDEO: Brick House - The Commodores
merlotje, Uploaded on Jan 21, 2008
The Commodores-Brick House 1977
-snip-
Here's information about this song - added June 11, 2016
From http://en.wikipedia.org/wiki/Brick_House_(song)
" "Brick House" is a song from the Commodores' 1977 self-titled album (released as Zoom in the UK).[1] The single peaked at #5 in the U.S. and #32 in the UK pop charts.
Creation and recording
In 1977, the Commodores were in the studio recording when there was a problem with the equipment. While the tapes were being repaired and replaced, the group took a break. Ronald LaPread, the group's bass player, began jamming. Bit by bit the rest of the band joined in until they came up with a track and bass line. Upon returning, James Carmichael, the Commodores' producer, heard and recognized that this could be a song worth recording. He asked everyone to see if they could use the riff to come up with a song. Taking the tapes home, William King played them for his wife, Shirley Hanna-King. While he slept she was inspired to write lyrics for the riff, modifying the expression "built like a brick sh&thouse"* for the song.[2]
The following day King sang the lyrics to "Brick House" to the band, allowing them to think he had written it. They loved it and decided that drummer Walter "Clyde" Orange had the funky voice to sing lead vocals,(as opposed to Lionel Richie, who usually sang lead), and the song went on the new album.
It took several years before the other members of the group discovered that it was actually Shirley Hanna-King who had written the lyrics, and although she was not originally credited, the band has publicly acknowledged her as the song's writer."
-snip-
*That word is fully spelled out in that article.
-snip-
LYRICS - BRICK HOUSE [Added June 11, 2016]
(William King- publicly credited as writer; actual writer his wife Shirley Hanna-King)
[Chorus:]
She's a brick house
Mighty might just lettin' it all hang out
She's a brick house
The lady's stacked and that's a fact,
ain't holding nothing back.
She's a brick house
She's the one, the only one,
who's built like a amazon*
We're together everybody knows,
and here's how the story goes.
She knows she got everything
a woman needs to get a man, yeah.
How can she lose with what she use
36-24-36, what a winning hand!
[Chorus]
The clothes she wears, the sexy ways,
make an old man wish for younger days
She knows she's built and knows how to please
Sure enough to knock a man to his knees
[Chorus]
Shake it down, shake it down now (repeat)
-snip-
*pronounced am-a-ka-zawn
Source: http://www.azlyrics.com/lyrics/commodores/brickhouse.html
****
ACKNOWLEDGEMENT AND THANKS
The content of this post is presented for etymological and entertainment reasons.
All copyrights remain with their owners.
Thanks to the composer of "Brick House" and thanks to the Commodores for their musical legacy. My thanks also to the authors & commenters who are quoted in this post, and to the uploader of this video.
Also, thank you for visiting pancocojams.
Viewer comments are welcome
“Brick house” is a complimentary descriptive referent for certain females which was coined by Shirley Hanna-King, the wife of a member of the R&B group “The Commodores”. According to that usage, "brick house" (also found as "brickhouse") [noun] is a curvaceous, "stacked", attractive female.
There are anecdotal statements on the Commodore's "Brick House" YouTube video viewer comment threads from women who remember being called a “brickhouse” after that record was released. There are also comments on those discussion threads from women who having heard that record, claim that they are a “brickhouse”. However, even in those discussion threads, it appears that a lot of viewers of the Commodores’ “Brick House” video, and/or listeners of the “Brick House” sound file aren’t sure what “brick house” (“brick house”) means in relation to females.
Clearly, “brick house” (or “brickhouse”) didn’t make into the A level of slang terms, that is - words or phrases that have been coined by African Americans relatively recently which have been quickly accepted by that population: words such as “old school”, “shout out”, and “bling” (or “bling bling”). Another A level slang category that “brick house”, “brickhouse” failed to achieve is words or phrases that were well known and have been used for a period of time by African Americans but have since largely been retired by that population: words such as “Yo!”, “Word up!”, and “out of sight”.
Of course, since “brick house” (or “brickhouse”) didn’t make it into the A level of slang terms, it certainly didn’t make it into the A+ level - slang terms that are well known by African Americans and are still used after a considerable amount of time; words and phrases like “jive”, “jam”, and “funky".
Many words from both of those A levels have been adopted by non-African Americans who may not use them correctly and may continue to use them long after African Americans have moved on to other slang terms – words like “dig”, “cool”, and “hip”. But “brick house” (“brickhouse”) doesn’t have anywhere near the status of any of those African American slang terms.
In this post, I attempt to delineate my thoughts on why “brick house”/”brickhouse” as a referent for curvaceous women has such a low score in the world of African American slang terms.
Point #1: “Brick house” already has a well known, firmly established meaning - a building for human habitation that is made out of - “bricks”.
Axiom #1: It’s not easy to supplant a well known, firmly established definition with a newly coined word, phrase, or idiom.
**
Point #2: Both “brick” and “house” have negative colloquial connotations.
Brick - an unintelligent person. Derived from "dumb as a brick."
http://onlineslangdictionary.com/meaning-definition-of/brick
Also , “If you talk to someone and they do not listen to you, it is like talking to a brick wall”.
http://www.usingenglish.com/reference/idioms/talking+to+a+brick+wall.html
-snip-
House – as in “big as a house”:
“now and days if you call a girl a brick howse lol she going think you calling her brickhouse lol aka look big or fat lol “
-Change- bostonguy, 2011, http://www.youtube.com/watch?v=rrBx6mAWYPU Commodore’s – Brick House
Also, click http://sports.yahoo.com/blogs/nfl-shutdown-corner/hello-house-too-big-nfl-200948099--nfl.htm for an article about a male football player whose nickname is “House” who has been determined to be too big to play in the NFL.
[And yes, I recognize the built in societal assumption that females don’t want to be considered described as being big or fat. But just because that assumption isn’t right, it still exists.]
Axiom #2: It’s not easy to give a positive connotation or connotations to words, phrases, or idioms that already have a negative connotation.
**
Point #3: “The term “brick house” and “bricks” are associated with excrement:
“solid as a sh&t brick house”, and “sh&&ting bricks”.
http://www.straightdope.com/columns/read/2458/how-did-the-phrase-built-like-a-brick-shithouse-get-to-be-a-compliment
Axiom #3 [which is related to Axiom #2] Unless they are pre-teens and teenagers, or acting as though they are pre-teens or teenagers, people don’t like to be described in terms that are associated with excrement.
**
Point #4: There’s already a positive colloquial definition for “brick”, and that definition has nothing whatsoever to do with a curvaceous, attractive woman:
...“'you're a real brick' is you're really dependable, i can rely on you. “ http://forum.wordreference.com/showthread.php?t=87069
See Axiom #1.
**
Point #5: If there are already standard & colloquial terms whose meanings fit what you are trying to say, why would anyone use a term that has so much associated baggage?
See Axiom #1, #2, and #3
**
Point #6: There are numerous slang meanings for the word “house”, many of which are associated with the music genre “House” (which supposedly got its name because it first developed in the early 1980s- a few years after the Commodore’s “Brick House record - in a Chicago, Illinois (night)club named “The Warehouse”, and then in New York City, and elsewhere. For example, the saying “I’ll house you” comes from the title and lyrics of the now classic 1989 Jungle Brothers record. I gather that “I’ll house you” has both a sexual meaning and a meaning that threatens violence, and can also mean other things. But I’m not sure about that since I’m not well versed in House music vernacular. Click http://en.wikipedia.org/wiki/House_music for information about House music.
If the term “brick house” was moving toward acceptance outside of that Commodore’s song, the arrival of stronger, more widely accepted colloquial usages of the word “house” sapped what was already a weakened acceptance (because of points I already made).
Axiom #4: When it comes to newly coined words or new meanings of already established words, it’s usually a matter of the survival of the fittest.
-snip-
So, there you have it. That’s my take on why “Brick house” is a pretty good dance song, but a rather lousy slang term.
****
SHOWCASE VIDEO: Brick House - The Commodores
merlotje, Uploaded on Jan 21, 2008
The Commodores-Brick House 1977
-snip-
Here's information about this song - added June 11, 2016
From http://en.wikipedia.org/wiki/Brick_House_(song)
" "Brick House" is a song from the Commodores' 1977 self-titled album (released as Zoom in the UK).[1] The single peaked at #5 in the U.S. and #32 in the UK pop charts.
Creation and recording
In 1977, the Commodores were in the studio recording when there was a problem with the equipment. While the tapes were being repaired and replaced, the group took a break. Ronald LaPread, the group's bass player, began jamming. Bit by bit the rest of the band joined in until they came up with a track and bass line. Upon returning, James Carmichael, the Commodores' producer, heard and recognized that this could be a song worth recording. He asked everyone to see if they could use the riff to come up with a song. Taking the tapes home, William King played them for his wife, Shirley Hanna-King. While he slept she was inspired to write lyrics for the riff, modifying the expression "built like a brick sh&thouse"* for the song.[2]
The following day King sang the lyrics to "Brick House" to the band, allowing them to think he had written it. They loved it and decided that drummer Walter "Clyde" Orange had the funky voice to sing lead vocals,(as opposed to Lionel Richie, who usually sang lead), and the song went on the new album.
It took several years before the other members of the group discovered that it was actually Shirley Hanna-King who had written the lyrics, and although she was not originally credited, the band has publicly acknowledged her as the song's writer."
-snip-
*That word is fully spelled out in that article.
-snip-
LYRICS - BRICK HOUSE [Added June 11, 2016]
(William King- publicly credited as writer; actual writer his wife Shirley Hanna-King)
[Chorus:]
She's a brick house
Mighty might just lettin' it all hang out
She's a brick house
The lady's stacked and that's a fact,
ain't holding nothing back.
She's a brick house
She's the one, the only one,
who's built like a amazon*
We're together everybody knows,
and here's how the story goes.
She knows she got everything
a woman needs to get a man, yeah.
How can she lose with what she use
36-24-36, what a winning hand!
[Chorus]
The clothes she wears, the sexy ways,
make an old man wish for younger days
She knows she's built and knows how to please
Sure enough to knock a man to his knees
[Chorus]
Shake it down, shake it down now (repeat)
-snip-
*pronounced am-a-ka-zawn
Source: http://www.azlyrics.com/lyrics/commodores/brickhouse.html
****
ACKNOWLEDGEMENT AND THANKS
The content of this post is presented for etymological and entertainment reasons.
All copyrights remain with their owners.
Thanks to the composer of "Brick House" and thanks to the Commodores for their musical legacy. My thanks also to the authors & commenters who are quoted in this post, and to the uploader of this video.
Also, thank you for visiting pancocojams.
Viewer comments are welcome
Examples Of The African American Track Lining Song "Up And Down The Road I Go" (Up & Down This Road I Go)
Edited by Azizi Powell
Latest Update: Dec. 10, 2022
This post presents lyrics of three African American folk songs that contain a verse beginning with the line "Up and down this road I go" and which also include the verse "Got a letter from [insert name] town"/East Saint Louis is burning down".
A sound file of one of these songs is included in this post. Unfortunately, I've not been able to find an online sound file or online video of the other two examples.
The content of this post is presented for historical, entertainment, and aesthetic purposes.
All copyrights remain with their owners.
FEATURED EXAMPLES
Example #1: Blind Arvella Gray Arvella's Work Song
Yamit Motek, Published on Jul 18, 2012
Blind Arvella Gray Arvella's Work Song - uploaded via http://www.mp32u.net/
-snip-
This sound file is probably from Arvella Gray's 1972 vinyl record Blind Arvella Gray- The Singing Drifter. That record was reissued in 2005 by Conjuroo Recordings.
Information about Arvella Gray's record can be found at http://www.stlblues.net/reviews_uj_blindarvella.htm
-snip-
Lyrics: Arvella's Work Song
[Arvella Gray talking]
Every morning, Captain Bo Bobbin would say to his foreman,
He say “Yeah ah when them boys sang them ah,
those lonesome songs, you’d betta watch ‘em,
but when they sang them happy songs, they alright.
[Arvella Gray begins singing and accompanies himself with handclaps.]
Verse #1
Little by little as the day grow long,
We gonna sing some happy song.
Little by little as the day grow long,
We gonna sing some happy song.
Little by little as the day grow long,
We gonna sing some happy song.
Verse #2
One of these mornings, it won’t be long
Captain gonna call me and I’ll be gone.
One of these mornings, and it won’t be long
Captain gonna call me and I’ll be gone.
Don’t you let the gator to the pond*
Verse #3
Do he give you more trouble than the day are long.
Don’t you let that gator to the pond
Do he give you more trouble than the day are long.
Verse #4
I went to the river and I couldn’t get across.
I jumped on an alligator, I thought he was a horse.
I went to the river and I couldn’t get across.
I jumped on an alligator, I thought he was a horse.
Verse #5
I caught him by the ear I speared him in the flank
You oughta see that alligator gettin to the bank.
I caught him by the ear I speared him in the flank
You oughta see that alligator gettin to the bank.
Verse #6
Up and down the road I go
Skippin and a dodgin from a 44.
Up and down that road I go
A skippin and a dodgin from a 44.
Verse #7
I gotta letter from a-Haggintown
East Saint Louey is burnin down.
I gotta letter from a-Haggintown
East Saint Louey is burnin down.
Verse #8
A newborn baby born last night
A-walkin and a-talkin ‘fore day light.
A newborn baby born last night
A-walkin and a-talkin ‘fore day light.
Verse #9
Waterboy bring your water 'round.
Don’t like your job, set your bucket down
Waterboy bring your water 'round.
Don’t like your job, set your bucket down.
Verse #10
Jack the rabbit, Jack the bear
Can’t you line ‘em, just a hair.
Jack the rabbit, Jack the bear
Can’t you line the track a hair.
Verse #11
Down in the wilderness a-preachin to the poor.
Gonna make this ten a six and a four.
Down in the wilderness a-preachin to the poor.
Gonna make this ten a six and a four.
Um! Um!
-snip-
This is my transcription from the video. Any additions or corrections are appreciation.
TEXT ANALYSIS OF SOME VERSES OF "ARVELLA'S WORK SONG"
Introductory Comments: The Captain's comments are interesting from a sociological standpoint since the nature of the workers' songs was felt to predict whether they would cause trouble or not. Further discussion of this point is beyond the scope of this post.
Verse #2: This is a floating verse from Spirituals (Floating verses" are found in a number of other songs or rhymes). In this verse, the "Captain" replaces God, Jesus, or "My Lord".
Verse #3: This line probably means "don’t you let that gator get to the pond."
Verse #4: This is a floating verse that is found in a number of African American folk songs & rhymes. Click http://www.gutenberg.org/files/27195/27195-h/27195-h.htm Project Gutenberg EBook [EBook #27195] version of Thomas W. Talley's 1922 compilation Negro Folk Rhymes: Wise And Otherwise for the examples "Crossing The River" and "Gray and Black Horses.
Verse #6 &7 are the two central verses that appear in each of the three songs in this post. Notice the sllght differences in these verses in the both of the other two song examples featured on this page.
A .44 is a type of gun.
Verse #7 refers to the East St. Louis [Illinois] Riot of 1917 in which much of the Black section of the town was burned to the ground by White residents, and many people were killed. For information about that tragedy, click http://en.wikipedia.org/wiki/East_St._Louis_Riot
I recall seeing the first line given as "Got a letter from Hagerstown". The versions of that line here and in the other examples are probably folk etymology forms of that name (though I'm not sure of the currect spelling of that location.)
That first line is also given as "Got a letter from Charlottetown" or "Got a letter from Shiloh town". And it's very likely that there are other versions of this line.
This verse is also found in the folk song "Sail Away Ladies".
Verse #10: Notice that Ella Jenkins (Example #2) indicated that she learned her clip of this song from Arvella Gray. Also, notice that the author of Ella Jenkin's record (citation below) wrote that "Mr. Gray had worked on the railroad when he was younger." It seems likely to me that Arvella Gray learned most if not all of these verses from lining track.
-snip-
For what it's worth, my guess is that the name "Arvella" is a form of the name "Orville".
****
Example #2: Ella Jenkins - "Up And Down This Road I Go"
Ella Jenkins Topics, Nov. 8, 2014
-snip-
Here's information about Ella Jenkins' performance of this song from
http://lfs.alexanderstreet.com/liner/bae2560124e9cecb81df4eb2c77d66e3/SFW45003.pdf
Smithsonian Folkways music notes for Ella Jenkins And The Goodwill Spiritual Choir Of Monumental Baptist Church
African American Folk Rhythms Record
Curator- Anthony Seeger, Smithsonian Folkways Collection, August 1988
Ella Jenkins learned this song from Arvella Gray, a blind street singer who played and sang on street corners as well as in music clubs on the South Side of Chicago in the 1950s. His street side audiences preferred to hear spirituals. Every year before the Kentucky Derby, he would take a train to Louisville and make a lot of money playing to the racegoers. Mr. Gray had worked on the railroad when he was younger and said that a bullet from a .44 had blinded him. His song carried a bit of his life as well as his music with it.
Up and down this road I go
Slippin and a doggin
From a 44.
Up and down this road I go
Slippin and a doggin
From a 44.
Jack the rabbit. Jack the bear
Won’t you line it
Just one hair.
Jack the rabbit. Jack the bear
Won’t you line it
Just one hair.
Got a letter from Hag in town
East St Louis is burnin down
Got a letter from Hag in town
East St Louis is burnin down
Got a letter from Hag in town
East St Louis is burnin down
Got a letter from Hag in town
East St Louis is burnin down
****
Example #3: Excerpt from Blues from the Delta by William Ferris, Da Capo Press; Revised edition (1988) page 34
From http://books.google.com/books?id=BUQA69Dpi6EC&pg=PA34&lpg=PA34&dq=east+saint+louis+is+burning+down+song&source=bl&ots=z-tVyDc5TP&sig=6OMIGZbsr0STDZoo54InsK6sveM&hl=en&sa=X&ei=g9oBUcfGIILC0QHXuYCwAg&sqi=2&ved=0CEQQ6AEwBA#v=onepage&q=east%20saint%20louis%20is%20burning%20down%20song&f=false
When you linin track you say
Up and down this road I go
Slippin and a doggin
From a 44.
Up and down this road I go
Skippin a
nd a divin for my 44.
Ha Ha, way over.
Ha Ha, way over.
Poor boys, pull together.
Track line much better.
Whoa!
Then we might say for the next track:
Oh, I got a letter from Haggis town
East St Louis is burnin down
Ha Ha, way over.
Ha Ha, way over.
Poor boys, pull together.
Track line much better.
Whoa!
There’s a lot more verses for track lining, but most of them have bad stuff in ‘em. If you don’t care, I’ll put them on here too.
Oh talkin ‘bout a pretty girl, you oughta see mine.
She got big titties and a broad behind.
Ha Ha, way over.
Ha Ha, way over.
Poor boys, pull together.
Track line much better.
Whoa!
****
RELATED LINKS
http://pancocojams.blogspot.com/2012/10/early-versions-of-cant-you-line-em.html Early Versions Of "Can't You Line' Em" ("Linin' Track")
http://mudcat.org/thread.cfm?threadid=97649#1923691 Origins: Sail Away Ladies; Mudcat Cafe; "East Saint Louis is burnin down" verse [letter from Shiloh town]
****
ACKNOWLEDGEMENT AND THANKS
Thanks to the unknown composer/s of these songs. Thanks also to Arvella Gray for his musical legacy. My thanks also to the authors of the articles that are quoted in this post, and the uploader of this featured sound file.
Also, thank you for visiting pancocojams.
Viewer comments are welcome
Latest Update: Dec. 10, 2022
This post presents lyrics of three African American folk songs that contain a verse beginning with the line "Up and down this road I go" and which also include the verse "Got a letter from [insert name] town"/East Saint Louis is burning down".
A sound file of one of these songs is included in this post. Unfortunately, I've not been able to find an online sound file or online video of the other two examples.
The content of this post is presented for historical, entertainment, and aesthetic purposes.
All copyrights remain with their owners.
FEATURED EXAMPLES
Example #1: Blind Arvella Gray Arvella's Work Song
Yamit Motek, Published on Jul 18, 2012
Blind Arvella Gray Arvella's Work Song - uploaded via http://www.mp32u.net/
-snip-
This sound file is probably from Arvella Gray's 1972 vinyl record Blind Arvella Gray- The Singing Drifter. That record was reissued in 2005 by Conjuroo Recordings.
Information about Arvella Gray's record can be found at http://www.stlblues.net/reviews_uj_blindarvella.htm
-snip-
Lyrics: Arvella's Work Song
[Arvella Gray talking]
Every morning, Captain Bo Bobbin would say to his foreman,
He say “Yeah ah when them boys sang them ah,
those lonesome songs, you’d betta watch ‘em,
but when they sang them happy songs, they alright.
[Arvella Gray begins singing and accompanies himself with handclaps.]
Verse #1
Little by little as the day grow long,
We gonna sing some happy song.
Little by little as the day grow long,
We gonna sing some happy song.
Little by little as the day grow long,
We gonna sing some happy song.
Verse #2
One of these mornings, it won’t be long
Captain gonna call me and I’ll be gone.
One of these mornings, and it won’t be long
Captain gonna call me and I’ll be gone.
Don’t you let the gator to the pond*
Verse #3
Do he give you more trouble than the day are long.
Don’t you let that gator to the pond
Do he give you more trouble than the day are long.
Verse #4
I went to the river and I couldn’t get across.
I jumped on an alligator, I thought he was a horse.
I went to the river and I couldn’t get across.
I jumped on an alligator, I thought he was a horse.
Verse #5
I caught him by the ear I speared him in the flank
You oughta see that alligator gettin to the bank.
I caught him by the ear I speared him in the flank
You oughta see that alligator gettin to the bank.
Verse #6
Up and down the road I go
Skippin and a dodgin from a 44.
Up and down that road I go
A skippin and a dodgin from a 44.
Verse #7
I gotta letter from a-Haggintown
East Saint Louey is burnin down.
I gotta letter from a-Haggintown
East Saint Louey is burnin down.
Verse #8
A newborn baby born last night
A-walkin and a-talkin ‘fore day light.
A newborn baby born last night
A-walkin and a-talkin ‘fore day light.
Verse #9
Waterboy bring your water 'round.
Don’t like your job, set your bucket down
Waterboy bring your water 'round.
Don’t like your job, set your bucket down.
Verse #10
Jack the rabbit, Jack the bear
Can’t you line ‘em, just a hair.
Jack the rabbit, Jack the bear
Can’t you line the track a hair.
Verse #11
Down in the wilderness a-preachin to the poor.
Gonna make this ten a six and a four.
Down in the wilderness a-preachin to the poor.
Gonna make this ten a six and a four.
Um! Um!
-snip-
This is my transcription from the video. Any additions or corrections are appreciation.
TEXT ANALYSIS OF SOME VERSES OF "ARVELLA'S WORK SONG"
Introductory Comments: The Captain's comments are interesting from a sociological standpoint since the nature of the workers' songs was felt to predict whether they would cause trouble or not. Further discussion of this point is beyond the scope of this post.
Verse #2: This is a floating verse from Spirituals (Floating verses" are found in a number of other songs or rhymes). In this verse, the "Captain" replaces God, Jesus, or "My Lord".
Verse #3: This line probably means "don’t you let that gator get to the pond."
Verse #4: This is a floating verse that is found in a number of African American folk songs & rhymes. Click http://www.gutenberg.org/files/27195/27195-h/27195-h.htm Project Gutenberg EBook [EBook #27195] version of Thomas W. Talley's 1922 compilation Negro Folk Rhymes: Wise And Otherwise for the examples "Crossing The River" and "Gray and Black Horses.
Verse #6 &7 are the two central verses that appear in each of the three songs in this post. Notice the sllght differences in these verses in the both of the other two song examples featured on this page.
A .44 is a type of gun.
Verse #7 refers to the East St. Louis [Illinois] Riot of 1917 in which much of the Black section of the town was burned to the ground by White residents, and many people were killed. For information about that tragedy, click http://en.wikipedia.org/wiki/East_St._Louis_Riot
I recall seeing the first line given as "Got a letter from Hagerstown". The versions of that line here and in the other examples are probably folk etymology forms of that name (though I'm not sure of the currect spelling of that location.)
That first line is also given as "Got a letter from Charlottetown" or "Got a letter from Shiloh town". And it's very likely that there are other versions of this line.
This verse is also found in the folk song "Sail Away Ladies".
Verse #10: Notice that Ella Jenkins (Example #2) indicated that she learned her clip of this song from Arvella Gray. Also, notice that the author of Ella Jenkin's record (citation below) wrote that "Mr. Gray had worked on the railroad when he was younger." It seems likely to me that Arvella Gray learned most if not all of these verses from lining track.
-snip-
For what it's worth, my guess is that the name "Arvella" is a form of the name "Orville".
****
Example #2: Ella Jenkins - "Up And Down This Road I Go"
Ella Jenkins Topics, Nov. 8, 2014
-snip-
Here's information about Ella Jenkins' performance of this song from
Smithsonian Folkways music notes for Ella Jenkins And The Goodwill Spiritual Choir Of Monumental Baptist Church
African American Folk Rhythms Record
Curator- Anthony Seeger, Smithsonian Folkways Collection, August 1988
Ella Jenkins learned this song from Arvella Gray, a blind street singer who played and sang on street corners as well as in music clubs on the South Side of Chicago in the 1950s. His street side audiences preferred to hear spirituals. Every year before the Kentucky Derby, he would take a train to Louisville and make a lot of money playing to the racegoers. Mr. Gray had worked on the railroad when he was younger and said that a bullet from a .44 had blinded him. His song carried a bit of his life as well as his music with it.
Up and down this road I go
Slippin and a doggin
From a 44.
Up and down this road I go
Slippin and a doggin
From a 44.
Jack the rabbit. Jack the bear
Won’t you line it
Just one hair.
Jack the rabbit. Jack the bear
Won’t you line it
Just one hair.
Got a letter from Hag in town
East St Louis is burnin down
Got a letter from Hag in town
East St Louis is burnin down
Got a letter from Hag in town
East St Louis is burnin down
Got a letter from Hag in town
East St Louis is burnin down
****
Example #3: Excerpt from Blues from the Delta by William Ferris, Da Capo Press; Revised edition (1988) page 34
From http://books.google.com/books?id=BUQA69Dpi6EC&pg=PA34&lpg=PA34&dq=east+saint+louis+is+burning+down+song&source=bl&ots=z-tVyDc5TP&sig=6OMIGZbsr0STDZoo54InsK6sveM&hl=en&sa=X&ei=g9oBUcfGIILC0QHXuYCwAg&sqi=2&ved=0CEQQ6AEwBA#v=onepage&q=east%20saint%20louis%20is%20burning%20down%20song&f=false
When you linin track you say
Up and down this road I go
Slippin and a doggin
From a 44.
Up and down this road I go
Skippin a
nd a divin for my 44.
Ha Ha, way over.
Ha Ha, way over.
Poor boys, pull together.
Track line much better.
Whoa!
Then we might say for the next track:
Oh, I got a letter from Haggis town
East St Louis is burnin down
Ha Ha, way over.
Ha Ha, way over.
Poor boys, pull together.
Track line much better.
Whoa!
There’s a lot more verses for track lining, but most of them have bad stuff in ‘em. If you don’t care, I’ll put them on here too.
Oh talkin ‘bout a pretty girl, you oughta see mine.
She got big titties and a broad behind.
Ha Ha, way over.
Ha Ha, way over.
Poor boys, pull together.
Track line much better.
Whoa!
****
RELATED LINKS
http://pancocojams.blogspot.com/2012/10/early-versions-of-cant-you-line-em.html Early Versions Of "Can't You Line' Em" ("Linin' Track")
http://mudcat.org/thread.cfm?threadid=97649#1923691 Origins: Sail Away Ladies; Mudcat Cafe; "East Saint Louis is burnin down" verse [letter from Shiloh town]
****
ACKNOWLEDGEMENT AND THANKS
Thanks to the unknown composer/s of these songs. Thanks also to Arvella Gray for his musical legacy. My thanks also to the authors of the articles that are quoted in this post, and the uploader of this featured sound file.
Also, thank you for visiting pancocojams.
Viewer comments are welcome
Thursday, January 24, 2013
Two Online Examples Of Deep House Music Mixes
Edited by Azizi Powell
This post presents information about House music with special focus on one sub-genre of that music -"Deep House music". This post also showcases one Deep House music mix that was produced by DJ Andylouisoulful and one Deep House Mix that was produced by DJ JaBig.
The content of this post is presented for historical, entertainment, and aesthetic purposes.
All copyrights remain with their owners.
INFORMATION ABOUT HOUSE MUSIC
From http://en.wikipedia.org/wiki/House_musichttp://en.wikipedia.org/wiki/House_music
"House music is a genre of electronic dance music that originated in the American city of Chicago in the early 1980s. It was initially popularized circa 1984 in Chicago, but beginning in 1985, it fanned out to other major cities such as Detroit, Toronto, New York City, San Francisco, Boston, Montreal, Manchester,[1] Miami, London,[1] and Paris. It then began to influence popular music in Europe... Since the early to mid-1990s, house music has been infused in mainstream pop and dance music worldwide.
Early house music was generally dance-based music characterized by repetitive 4/4 beats, rhythms centered around drum machines,[2] off-beat hi-hat cymbals, and synthesized basslines. While house displayed several characteristics similar to disco music, it was more electronic and minimalistic,[2] and the structured music's focus around a repetitive rhythm was more important than the song itself. House music today, while keeping several of these core elements, notably the prominent kick drum on every beat, varies a lot in style and influence, ranging from the soulful and atmospheric deep house to the more minimalistic microhouse. House music has also fused with several other genres creating fusion subgenres,[2] such as Euro house, tech house, and electro house."...
-snip-
From http://en.wikipedia.org/wiki/Deep_house
"Deep house is a subgenre of house music that originated in the 1980s, initially fusing elements of Chicago house with 1980s jazz-funk and touches of soul music.
Deep house is known for complex melody, complex chords underlying most sequences, and a soul, ambient, or lounge vibe to the vocals (if any). In the early compositions (1988—89), influences of jazz music were most frequently brought out by using more complex chords than simple triads (7ths, 9ths, 13ths, suspensions, alterations) which are held for many bars and give compositions a slightly dissonant feel. The use of vocals became more common in deep house than in many other forms of house music. Sonic qualities include soulful vocals (if vocals are included), slow and concentrated dissonant melodies, smooth, stylish, and chic demeanor.[citation needed] Deep house music rarely reaches a climax, but lingers on as a comfortable relaxing sound"...
-snip-
The African American English meaning of "deep" is "profound", inspirational", something that is (or someone who is) "deep" causes us to think; to ponder on "heavy duty" thoughts or matters. And/or something that is (or someone who is "deep" causes us to feel more than we usually feel.
Also, the African American English meaning of the word "dope" [that is found on the mix cover in the 2nd example below along with the word "deep"] is "very good". "Ill" is another African American slang word for "dope" which has the same positive vernacular meaning. Maybe that's because the other form of dope makes you ill. (I'm only being a little bit facetious with that last statement).
-snip-
PLEASE BE AWARE: Some sub-genres of House include profanity and sexually explicit language and sexual explicit visuals [in YouTube mixes.] Also, there are clean and x rated ["dirty house"] versions of some House songs, and some songs that don't have x rated language have sexually suggestive language. Also, be aware that most YouTube video comment threads contain profanity and sexually explicit language.
FEATURED MIXES
(These two examples of Deep House mixes are presented in chronological order by the date of the mixes' YouTube posting.)
MIX #1: DEEP SOULFUL HOUSE MIX - NOV 2011
Andylouisoulful, Uploaded on Nov 23, 2011
Tracklist & Description Below ( Tracklist Now Added!! )
Deep Soulful House Mix - Nov Session 2011. Mixed by Andylouisoulful. …
TRACKLIST:
1- Cei Bei - I Need You Lord (Blaq Soul Mix)
2- Pasco Doble feat. Zano - Blind Faith (BSC Alma Remix)
3- Andre Harris - I Miss You (Nteeze & Andy's Main Vocal Mix)
4- Darque feat. Kaylow - Difference (Antidotes Remix)
5- Haldo feat. Melanie Gerren - The Sky (Black Sonix Hybrid Vox)
6- Malena - No Me Digas Nada - (URH Remix)
7- Gomez & Fresco feat. Marisa Lopez - La Vida Se Goza (Louie's Deep Vocal)
8- Haldo feat. Melanie Gerren - The Sky (Pablo Fierro Grooves)
9- Lemon & Herb - Velani (Main Vocal Mix)
10- Napoleons - Silence (Main Mix)
11- Dj Fudge - Ivette
12 - Andy Compton feat Rowan - Our Tribe (Kojo Akusa Remix)
-snip-
The contact information for DJ Andylouisoulful found in the mix’s summary statement on http://www.youtube.com/watch?v=QwPThEPAjMs
-snip-
I want to call attention to the fact that the first song in this mix is a religious song.
****
Mix #2: Jazz Sax House Music Mix by DJ JaBig [DEEP & DOPE Saxophone Sounds]
Jabig, Published on Jun 13, 2012
Sax House Music Mix Playlist:
Sax Paco - Glenn Undergound
Sax On Da Beach - Demarkus Lewis
The Uc Anthem (Uc Sax Remix) - Marlon D
Qua Tanka (BSC Sax Dub beats) - Qua Tanka
O Samba E (Sandy Saxo Remix) - Frank Degrees
R U Ready (Sax Vocal Mix) - DJ Pierre Feat Licia
In the Morning (Jazztronik Remix) - Jafrosax feat. Victor Duplaix
If (Edmund Remix) - Gilbert Le Funk, DJ Bee & Kaysee Featuring Rub 'N' Morn on Sax
Poor People (Saxy Dub) - Quentin Harris feat. Monique Bingham
I Won't Let You Go (Sax Club Mix) - Anthony Romeno
New Day (Sax Vocal Mix) Hedi Benromdan ft. Chappell
Think Twice - The Detroit Experiment
-snip-
Contact information for DJ JaBig is found in the mix’s summary statement on http://www.youtube.com/watch?v=IesAQus_zNU.
ACKNOWLEDGEMENT AND THANKS
Thanks to the composers of these songs & tunes. Thanks also to the featured musicians and vocalists. Thanks to the author/s of the Wikipedia pages on "House" and on "Deep House."
Special thanks to DJ Andylouisoulful and DJ JaBig for producing their mixes and sharing them on YouTube.
Also, thank you for visiting pancocojams.
Viewer comments are welcome
This post presents information about House music with special focus on one sub-genre of that music -"Deep House music". This post also showcases one Deep House music mix that was produced by DJ Andylouisoulful and one Deep House Mix that was produced by DJ JaBig.
The content of this post is presented for historical, entertainment, and aesthetic purposes.
All copyrights remain with their owners.
INFORMATION ABOUT HOUSE MUSIC
From http://en.wikipedia.org/wiki/House_musichttp://en.wikipedia.org/wiki/House_music
"House music is a genre of electronic dance music that originated in the American city of Chicago in the early 1980s. It was initially popularized circa 1984 in Chicago, but beginning in 1985, it fanned out to other major cities such as Detroit, Toronto, New York City, San Francisco, Boston, Montreal, Manchester,[1] Miami, London,[1] and Paris. It then began to influence popular music in Europe... Since the early to mid-1990s, house music has been infused in mainstream pop and dance music worldwide.
Early house music was generally dance-based music characterized by repetitive 4/4 beats, rhythms centered around drum machines,[2] off-beat hi-hat cymbals, and synthesized basslines. While house displayed several characteristics similar to disco music, it was more electronic and minimalistic,[2] and the structured music's focus around a repetitive rhythm was more important than the song itself. House music today, while keeping several of these core elements, notably the prominent kick drum on every beat, varies a lot in style and influence, ranging from the soulful and atmospheric deep house to the more minimalistic microhouse. House music has also fused with several other genres creating fusion subgenres,[2] such as Euro house, tech house, and electro house."...
-snip-
From http://en.wikipedia.org/wiki/Deep_house
"Deep house is a subgenre of house music that originated in the 1980s, initially fusing elements of Chicago house with 1980s jazz-funk and touches of soul music.
Deep house is known for complex melody, complex chords underlying most sequences, and a soul, ambient, or lounge vibe to the vocals (if any). In the early compositions (1988—89), influences of jazz music were most frequently brought out by using more complex chords than simple triads (7ths, 9ths, 13ths, suspensions, alterations) which are held for many bars and give compositions a slightly dissonant feel. The use of vocals became more common in deep house than in many other forms of house music. Sonic qualities include soulful vocals (if vocals are included), slow and concentrated dissonant melodies, smooth, stylish, and chic demeanor.[citation needed] Deep house music rarely reaches a climax, but lingers on as a comfortable relaxing sound"...
-snip-
The African American English meaning of "deep" is "profound", inspirational", something that is (or someone who is) "deep" causes us to think; to ponder on "heavy duty" thoughts or matters. And/or something that is (or someone who is "deep" causes us to feel more than we usually feel.
Also, the African American English meaning of the word "dope" [that is found on the mix cover in the 2nd example below along with the word "deep"] is "very good". "Ill" is another African American slang word for "dope" which has the same positive vernacular meaning. Maybe that's because the other form of dope makes you ill. (I'm only being a little bit facetious with that last statement).
-snip-
PLEASE BE AWARE: Some sub-genres of House include profanity and sexually explicit language and sexual explicit visuals [in YouTube mixes.] Also, there are clean and x rated ["dirty house"] versions of some House songs, and some songs that don't have x rated language have sexually suggestive language. Also, be aware that most YouTube video comment threads contain profanity and sexually explicit language.
FEATURED MIXES
(These two examples of Deep House mixes are presented in chronological order by the date of the mixes' YouTube posting.)
MIX #1: DEEP SOULFUL HOUSE MIX - NOV 2011
Andylouisoulful, Uploaded on Nov 23, 2011
Tracklist & Description Below ( Tracklist Now Added!! )
Deep Soulful House Mix - Nov Session 2011. Mixed by Andylouisoulful. …
TRACKLIST:
1- Cei Bei - I Need You Lord (Blaq Soul Mix)
2- Pasco Doble feat. Zano - Blind Faith (BSC Alma Remix)
3- Andre Harris - I Miss You (Nteeze & Andy's Main Vocal Mix)
4- Darque feat. Kaylow - Difference (Antidotes Remix)
5- Haldo feat. Melanie Gerren - The Sky (Black Sonix Hybrid Vox)
6- Malena - No Me Digas Nada - (URH Remix)
7- Gomez & Fresco feat. Marisa Lopez - La Vida Se Goza (Louie's Deep Vocal)
8- Haldo feat. Melanie Gerren - The Sky (Pablo Fierro Grooves)
9- Lemon & Herb - Velani (Main Vocal Mix)
10- Napoleons - Silence (Main Mix)
11- Dj Fudge - Ivette
12 - Andy Compton feat Rowan - Our Tribe (Kojo Akusa Remix)
-snip-
The contact information for DJ Andylouisoulful found in the mix’s summary statement on http://www.youtube.com/watch?v=QwPThEPAjMs
-snip-
I want to call attention to the fact that the first song in this mix is a religious song.
****
Mix #2: Jazz Sax House Music Mix by DJ JaBig [DEEP & DOPE Saxophone Sounds]
Jabig, Published on Jun 13, 2012
Sax House Music Mix Playlist:
Sax Paco - Glenn Undergound
Sax On Da Beach - Demarkus Lewis
The Uc Anthem (Uc Sax Remix) - Marlon D
Qua Tanka (BSC Sax Dub beats) - Qua Tanka
O Samba E (Sandy Saxo Remix) - Frank Degrees
R U Ready (Sax Vocal Mix) - DJ Pierre Feat Licia
In the Morning (Jazztronik Remix) - Jafrosax feat. Victor Duplaix
If (Edmund Remix) - Gilbert Le Funk, DJ Bee & Kaysee Featuring Rub 'N' Morn on Sax
Poor People (Saxy Dub) - Quentin Harris feat. Monique Bingham
I Won't Let You Go (Sax Club Mix) - Anthony Romeno
New Day (Sax Vocal Mix) Hedi Benromdan ft. Chappell
Think Twice - The Detroit Experiment
-snip-
Contact information for DJ JaBig is found in the mix’s summary statement on http://www.youtube.com/watch?v=IesAQus_zNU.
ACKNOWLEDGEMENT AND THANKS
Thanks to the composers of these songs & tunes. Thanks also to the featured musicians and vocalists. Thanks to the author/s of the Wikipedia pages on "House" and on "Deep House."
Special thanks to DJ Andylouisoulful and DJ JaBig for producing their mixes and sharing them on YouTube.
Also, thank you for visiting pancocojams.
Viewer comments are welcome
Wednesday, January 23, 2013
The Hucklebuck (Music, Song, & Dance)
Edited by Azizi Powell
This post presents information about The Hucklebuck as well as two sound file of that Jazz tune and five videos of that Rock and Roll song & dance.
The content of this post is presented for historical, entertainment, and aesthetic purposes.
All copyrights remain with their owners.
INFORMATION ABOUT PAUL HUCKLEBUCK WILLIAMS, AND INFORMATION ABOUT "THE HUCKLEBUCK"
From http://en.wikipedia.org/wiki/Paul_Williams_(saxophonist)
"Paul "Hucklebuck" Williams (July 13, 1915 – September 14, 2002)[1] was an American blues and rhythm and blues saxophonist and songwriter. In his Honkers and Shouters, Arnold Shaw credits Williams as one of the first to employ the honking tenor sax solo that became the hallmark of rhythm and blues and rock and roll in the 1950s and early 1960s.
After performing with Clarence Dorsey and King Porter he formed his own band in 1947. He was best known for his 1949 hit, "The Hucklebuck", a twelve-bar blues that also spawned a dance craze. The single went to number one on the U.S. Billboard R&B chart.[2] He used the billing of Paul Williams and his Hucklebuckers thereafter. Charlie Parker had four years earlier used the same riff for his "Now's the Time".
Williams' recording was covered by Tommy Dorsey and Frank Sinatra, as well as by R&B artists Roy Milton and Lionel Hampton, but Williams' Savoy recording was still the best-selling rhythm and blues song of the year. Shaw points out that "The Hucklebuck" was an early example of crossover from R&B to mainstream popular music. The Paul Williams version sold half a million copies by some estimates.[3] In later years, during the rock era, in 1960, Chubby Checker peaked at number fourteen with his version of the song,[4] while in 1963 Brendan Bowyer and the Royal Showband became the first Irish artists to top the Irish singles chart with their cover, staying at the top for seven weeks.[5]
British Rockabilly band Coast to Coast reached number 3 in the UK Singles Chart in 1981 with a cover called "(Do) the Hucklebuck".[6] In 2010, Crystal Swing had a hit with the song...
Do the Hucklebuck, do the Hucklebuck,
If you don't know how to do it, boy, you're out of luck,
Push your partner out,
Then you hunch your back,
Start a little movement in your sacroiliac,
Wiggle like an eel, waddle like a duck,
That's the way you do it when you do the Hucklebuck"
-snip-
From http://paulhucklebuckwilliams.com/biography
"...On February 20, 1948, the band played their first engagement outside of the Detroit area and broke all house records at the Royal Theater in Baltimore. It was Paul Williams’ cleverly reworked treatment of the 1928 Andy Gibson song, “D-Natural Blues,” that changed a whole generation of music, dance and Williams’ life. That tune, renamed “The Hucklebuck,” was a phenomenal success. It was recorded in December of 1948 on the Newark-based Savoy label, and it became an important precursor of rock ‘n’ roll. It hit number one in February 1949 and remained on the charts for thirty-two weeks. While the pop swing bands of the war years were disbanding or playing little more than background music for pop vocalists, “The Hucklebuck” sparked a dance craze and brought a danceable beat into the publics awareness. It was a shuffle-blues instrumental built around the sound of a furiously honking saxophone, it helped give impetus to the raucous variant of rhythm and blues that evolved into rock ‘n’ roll. It also gave Mr. Williams an identity: from 1949 until the end of his career, he was billed as Paul Hucklebuck Williams."
-snip-
Here's a link to lyrics to "(Do The) Hucklebuck" as sung by Chubby Checker: http://www.oldielyrics.com/lyrics/chubby_checker/the_hucklebuck.html
-snip-
I gather from reading online posts about The Hucklebuck that how this dance is done has changed from a very risque partner dance to a line dance with usually very fixed steps. Here are links to articles about how The Hucklebuck was danced and is now danced, although I don't vouch for the authenticity of the contemporary instructions.
http://www.streetswing.com/histmain/z3hucklebuck.htm
http://wfmu.org/LCD/26/huck1.html Do The Hucklebuck!
http://www.ehow.com/way_5300839_hucklebuck-dance-steps.html Hucklebuck Dance Steps
-snip-
Here's a link to one of several YouTube videso of the Hucklebuck being performed as a fixed line dance: http://www.youtube.com/watch?v=VCTWSySXnOY Huckle Buck
Also, a comment in a 1963 video of the Gospel group, The Clara Ward Singers, mentions that members of this group were doing a Holy dance step that reminded the commenter of a "Holy Ghost huckle buck". The commenter referred to the "dancing" at 1:38 of this video http://www.youtube.com/watch?v=YhrJ8qITUUs
Clara Ward - Swing Low Chariot [And Let Me Ride]
FEATURED VIDEOS
Example #1: Huckle Boogie - Paul Hucklebuck Williams
Uploaded by PaulHucklebuckWms on Oct 8, 2010
The song Huckle Boogie appears on one of three album recordings. Paul Williams The Complete Recordings Volume 1 1947 - 1949, Paul Williams The Complete Recordings Volume 2 1949 - 1952, and Paul Williams The Complete Recordings Volume 3 1952 - 1956.
-snip-
Here's a comment from this video's viewer comment thread:
PaulHucklebuckWms, 2012
http://www.youtube.com/watch?v=X83zuhHtFtQ
"The saxophone playing in this song is great. There is a second version of the song on Paul Williams The Complete Recordings Volume 2 1949-1952."
****
Example #2: Pinetop Perkins - The Hucklebuck.wmv
laercon, Uploaded on Dec 21, 2009
Pinetop Perkins - The Hucklebuck - Montagem feita em cima de um desenho antigo da Betty Boop
-snip-
Click http://en.wikipedia.org/wiki/Pinetop_Perkins for information about Pinetop Perkins.
****
Example #3: Chubby Checker - The Hucklebuck
Uploaded by OpDePlanken on Oct 7, 2008
Live On Stage
****
Example #4 CHICK WILLIS EXCLUSIVE How To Do The Hucklebuck (Remix)
Blues Hunter, Uploaded on Nov 17, 2010
… taken from CD, "The Best Of So Far"
-snip-
I’m particularly interested in the music and the vintage dance films that are included in this video, though I’m unsure if any of them were of people dancing the Hucklebuck.
****
Editor's Note:
Although these next three videos aren't by Black performers as per the overall mission of this blog, they certainly are a noteworthy part of the Hucklebuck culture. And I believe that visitors to this blog will enjoy watching them, as I have.
Example #5: Hucklebuck
Ron R, Uploaded on Feb 1, 2009
Norton teaches Ralph how to dance
-snip-
Here's information about that version of The Hucklebuck:
Regarding the version that was used in the Honeymooner episode:
"It was done by Kay Starr….The version played on the show was a slightly different version than the one that actually came out…
posted by powbangzooom0, 01-08-2007, http://www.sitcomsonline.com/boards/showthread.php?t=13910
****
Example #6: Coast To Coast - (Do) The Hucklebuck (1981) HD
BadCovers0815007, Uploaded on Aug 11, 2010
****
Example #7: Crystal Swing doing huckle buck on late late show
jryantime, Uploaded on Jul 6, 2011
Crystal swing gets the crowd going by doing the huck bckle on the late late show. The huckle buck was made famous in the showband era by brendan boyer
****
RELATED LINK
Click this link to a page of my Jambalayah cultural website that features a compilation post of other Rock and Roll dances (dances prior to 1970): http://www.jambalayah.com/node/1142
****
ACKNOWLEDGEMENT AND THANKS
Thanks to the composers of these songs, and all of the musicians, vocalists, and other performers in the featured videos. My thanks also to the authors of the articles that are quoted in this post, and the uploaders of these featured sound files and videos.
Also, thank you for visiting pancocojams.
Visitor comments are welcome
This post presents information about The Hucklebuck as well as two sound file of that Jazz tune and five videos of that Rock and Roll song & dance.
The content of this post is presented for historical, entertainment, and aesthetic purposes.
All copyrights remain with their owners.
INFORMATION ABOUT PAUL HUCKLEBUCK WILLIAMS, AND INFORMATION ABOUT "THE HUCKLEBUCK"
From http://en.wikipedia.org/wiki/Paul_Williams_(saxophonist)
"Paul "Hucklebuck" Williams (July 13, 1915 – September 14, 2002)[1] was an American blues and rhythm and blues saxophonist and songwriter. In his Honkers and Shouters, Arnold Shaw credits Williams as one of the first to employ the honking tenor sax solo that became the hallmark of rhythm and blues and rock and roll in the 1950s and early 1960s.
After performing with Clarence Dorsey and King Porter he formed his own band in 1947. He was best known for his 1949 hit, "The Hucklebuck", a twelve-bar blues that also spawned a dance craze. The single went to number one on the U.S. Billboard R&B chart.[2] He used the billing of Paul Williams and his Hucklebuckers thereafter. Charlie Parker had four years earlier used the same riff for his "Now's the Time".
Williams' recording was covered by Tommy Dorsey and Frank Sinatra, as well as by R&B artists Roy Milton and Lionel Hampton, but Williams' Savoy recording was still the best-selling rhythm and blues song of the year. Shaw points out that "The Hucklebuck" was an early example of crossover from R&B to mainstream popular music. The Paul Williams version sold half a million copies by some estimates.[3] In later years, during the rock era, in 1960, Chubby Checker peaked at number fourteen with his version of the song,[4] while in 1963 Brendan Bowyer and the Royal Showband became the first Irish artists to top the Irish singles chart with their cover, staying at the top for seven weeks.[5]
British Rockabilly band Coast to Coast reached number 3 in the UK Singles Chart in 1981 with a cover called "(Do) the Hucklebuck".[6] In 2010, Crystal Swing had a hit with the song...
Do the Hucklebuck, do the Hucklebuck,
If you don't know how to do it, boy, you're out of luck,
Push your partner out,
Then you hunch your back,
Start a little movement in your sacroiliac,
Wiggle like an eel, waddle like a duck,
That's the way you do it when you do the Hucklebuck"
-snip-
From http://paulhucklebuckwilliams.com/biography
"...On February 20, 1948, the band played their first engagement outside of the Detroit area and broke all house records at the Royal Theater in Baltimore. It was Paul Williams’ cleverly reworked treatment of the 1928 Andy Gibson song, “D-Natural Blues,” that changed a whole generation of music, dance and Williams’ life. That tune, renamed “The Hucklebuck,” was a phenomenal success. It was recorded in December of 1948 on the Newark-based Savoy label, and it became an important precursor of rock ‘n’ roll. It hit number one in February 1949 and remained on the charts for thirty-two weeks. While the pop swing bands of the war years were disbanding or playing little more than background music for pop vocalists, “The Hucklebuck” sparked a dance craze and brought a danceable beat into the publics awareness. It was a shuffle-blues instrumental built around the sound of a furiously honking saxophone, it helped give impetus to the raucous variant of rhythm and blues that evolved into rock ‘n’ roll. It also gave Mr. Williams an identity: from 1949 until the end of his career, he was billed as Paul Hucklebuck Williams."
-snip-
Here's a link to lyrics to "(Do The) Hucklebuck" as sung by Chubby Checker: http://www.oldielyrics.com/lyrics/chubby_checker/the_hucklebuck.html
-snip-
I gather from reading online posts about The Hucklebuck that how this dance is done has changed from a very risque partner dance to a line dance with usually very fixed steps. Here are links to articles about how The Hucklebuck was danced and is now danced, although I don't vouch for the authenticity of the contemporary instructions.
http://www.streetswing.com/histmain/z3hucklebuck.htm
http://wfmu.org/LCD/26/huck1.html Do The Hucklebuck!
http://www.ehow.com/way_5300839_hucklebuck-dance-steps.html Hucklebuck Dance Steps
-snip-
Here's a link to one of several YouTube videso of the Hucklebuck being performed as a fixed line dance: http://www.youtube.com/watch?v=VCTWSySXnOY Huckle Buck
Also, a comment in a 1963 video of the Gospel group, The Clara Ward Singers, mentions that members of this group were doing a Holy dance step that reminded the commenter of a "Holy Ghost huckle buck". The commenter referred to the "dancing" at 1:38 of this video http://www.youtube.com/watch?v=YhrJ8qITUUs
Clara Ward - Swing Low Chariot [And Let Me Ride]
FEATURED VIDEOS
Example #1: Huckle Boogie - Paul Hucklebuck Williams
Uploaded by PaulHucklebuckWms on Oct 8, 2010
The song Huckle Boogie appears on one of three album recordings. Paul Williams The Complete Recordings Volume 1 1947 - 1949, Paul Williams The Complete Recordings Volume 2 1949 - 1952, and Paul Williams The Complete Recordings Volume 3 1952 - 1956.
-snip-
Here's a comment from this video's viewer comment thread:
PaulHucklebuckWms, 2012
http://www.youtube.com/watch?v=X83zuhHtFtQ
"The saxophone playing in this song is great. There is a second version of the song on Paul Williams The Complete Recordings Volume 2 1949-1952."
****
Example #2: Pinetop Perkins - The Hucklebuck.wmv
laercon, Uploaded on Dec 21, 2009
Pinetop Perkins - The Hucklebuck - Montagem feita em cima de um desenho antigo da Betty Boop
-snip-
Click http://en.wikipedia.org/wiki/Pinetop_Perkins for information about Pinetop Perkins.
****
Example #3: Chubby Checker - The Hucklebuck
Uploaded by OpDePlanken on Oct 7, 2008
Live On Stage
****
Example #4 CHICK WILLIS EXCLUSIVE How To Do The Hucklebuck (Remix)
Blues Hunter, Uploaded on Nov 17, 2010
… taken from CD, "The Best Of So Far"
-snip-
I’m particularly interested in the music and the vintage dance films that are included in this video, though I’m unsure if any of them were of people dancing the Hucklebuck.
****
Editor's Note:
Although these next three videos aren't by Black performers as per the overall mission of this blog, they certainly are a noteworthy part of the Hucklebuck culture. And I believe that visitors to this blog will enjoy watching them, as I have.
Example #5: Hucklebuck
Ron R, Uploaded on Feb 1, 2009
Norton teaches Ralph how to dance
-snip-
Here's information about that version of The Hucklebuck:
Regarding the version that was used in the Honeymooner episode:
"It was done by Kay Starr….The version played on the show was a slightly different version than the one that actually came out…
posted by powbangzooom0, 01-08-2007, http://www.sitcomsonline.com/boards/showthread.php?t=13910
****
Example #6: Coast To Coast - (Do) The Hucklebuck (1981) HD
BadCovers0815007, Uploaded on Aug 11, 2010
****
Example #7: Crystal Swing doing huckle buck on late late show
jryantime, Uploaded on Jul 6, 2011
Crystal swing gets the crowd going by doing the huck bckle on the late late show. The huckle buck was made famous in the showband era by brendan boyer
****
RELATED LINK
Click this link to a page of my Jambalayah cultural website that features a compilation post of other Rock and Roll dances (dances prior to 1970): http://www.jambalayah.com/node/1142
****
ACKNOWLEDGEMENT AND THANKS
Thanks to the composers of these songs, and all of the musicians, vocalists, and other performers in the featured videos. My thanks also to the authors of the articles that are quoted in this post, and the uploaders of these featured sound files and videos.
Also, thank you for visiting pancocojams.
Visitor comments are welcome
Subscribe to:
Posts (Atom)