Monday, 6 June 2011

00C: Harry Champion, Cesar Cui and Creole Belles

Harry Champion

Harry Champion, born William Crump, was a music hall performer and comedy songwriter. He was mostly known for his great energy, rapid fire lyrics and songs about - wait for it - food.

With titles like Boiled Beef and Carrots, Arf a Pint of Ale and A Little Bit of Cucumber, not to mention lyrics like:
Don't live like vegetarians,
On food they give to parrots,
Blow out ya kite from morning to night
With boiled beef and carrots!
you'd be hard-pressed not like the guy (at least, I would be). He also wrote rather cockney classics like I'm Henery the Eighth I Am, a reverse take on the well known historical character about a woman who takes eight husbands all called Henry.

If songs like Bon Bon Buddy represent racial tensions of the time, then surely performers like Harry Champion represent the average working class man; a cockney guy with a great love for homely foods and drink, he seems to be a caricature of the audience music hall performances were aimed at. Not to mention being covered by Chas & Dave (as in the Little Bit of Cucumber link above)!

More like this: As Boiled Beef and Carrots poo-poos vegetarians, let's hear the other side of the story! Try Vegetables by The Beach Boys, backed by the celery-crunching percussion of Paul and Linda McCartney.

Cesar Cui

Cesar Cui was one of the "Mighty Handful" (not the ducks..), a group of 5 nationalist Russian composers. They tried to compose music that was specifically Russian, and influenced by their own culture rather than what was found in European music schools.

During this decade, Cui was writing a bunch of one-act operas that sound great, but unfortunately seem very difficult to find. He also wrote in this time a four-act opera called The Captain's Daughter, which you can find an... interesting version of by the St Petersburg Rock Opera Theatre here. His main surviving work from this time is more freely available, however; 25 Preludes for the piano.

More like this: One of the other fingers of the Mighty Handful (get it?) was Modest Mussorgsky. Listen to his well known Pictures at an Exhibition here, or if you fancy going into the future a little, the Emerson, Lake and Palmer version.

Creole Belles

Creole Belles was a song written by J Bodewalt Lampe in 1900; you can hear it performed by the New Orleans Ragtime Orchestra here. I originally picked the song just because I really liked the sound of it; you can almost picture the lively dances people would do listening to it.

Little did I know how right I was - it's actually a cakewalk song. Cakewalks are a dance that originated from slaves in plantations; intended to mock the grand balls their white masters had, the slavemasters seemed to miss the point a bit and ended up giving up prizes of cake to the best dancers.


Cyclical mocking through dance!

Lampe himself was one of the most popular ragtime songwriters at the time, who sometimes used the pseudonym Ribe Danmark. A violinist and dance band leader, he produced other hits during this decade like Dixie Girl (1903) and Georgia Sunset Cakewalk (1908).

More like this
: Try Darktown is Out Tonight (performed here by Dick Hyman) from "Clorindy; or, The Origin of the Cakewalk", a piece of theatre written by Will Marion Cook who you may remember from the 00B entry.

Friday, 3 June 2011

00B: Buddy Bolden and Bon Bon Buddy

Buddy Bolden

Bolden is another of those I'm surprised I hadn't heard of when I read up on how well loved he was. Apparently a New Orleans cornet player, barber, scandal sheet writer, bandleader and all-round busy guy, he's widely regarded to be the father of jazz as we know it and said to be the first bandleader to use improvisation.

Strangely for someone so widely regarded, there are no surviving recordings by the performer and only one surviving composition - Buddy Bolden's Blues (performed here by Hugh Laurie), which has fantastic lyrics like:
I thought I heard Buddy Bolden say,
Stinky butt funky butt, take it away!
The track also originally had the much better title Funky Butt, seemingly named after one of the dance-halls he played in. It was there that Louis Armstrong first heard him play, who later said that Buddy was a "one man genius ahead of them all".

In 1907 (pre-dating the rock-n-roll lifestyle by far, the trendsetter!) he collapsed in the middle of a street parade, having a mental breakdown - the more dramatic accounts have him frothing at the mouth - which got him committed to a lunatic asylum for the rest of his life.

More like this: Try Jelly Roll Morton, who besides having a fantastic name was a New Orleans pianist who knew Buddy Bolden.

Bon Bon Buddy

Bon Bon Buddy was a song written by Will Marion Cook and Alex Rogers in 1907 - you can hear it performed by William Brown here. The lyrics are a tale about how the singer's nickname, Bon Bon Buddy the Chocolate Drop came about.

The song is part of the so-called coon songs genre, which is fairly self explanatory. Popular all the way from the 1880s to the 1920s, the songs were meant to be funny caricatures of African-Americans. Unfortunately, funny at the time meant negative and ugly stereotypes including violence, stupidity and a leaning towards earning money in illicit ways. Written and performed by both black and white - although black songwriters often only wrote them as a source of steady income - they're a fascinating but unpleasant view into race relations in the early 1900s.


The score cover for Bon Bon Buddy, The Chocolate Drop

More like this: Try another song of the genre, All Coons Look Alike To Me. Said to be the worst of its type, it was written by black songwriter Ernest Hogan. Or, if you'd like to read more, there's a well written article on the topic and its importance within history here.

Wednesday, 1 June 2011

00A: ABCs of the USA, Asrael and Andrew Sterling

ABCs of the USA

The century opens, on this blog at least, with ABCs of the USA, a ditty written by George Cohan for the musical "Yankee Prince" (1908). You can be hear it being performed by Bill Murray and Ada Jones on Spotify here.

Having read up on George M Cohan after selecting this song mostly for its atmosphere, I'm pretty surprised I hadn't heard of him before. Known in this decade as "the man who owned Broadway" (also the title of one of his songs), he now has a statue erected in his honour in Times Square. Most famous for the song Yankee Doodle Boy, from a different musical, he was a vaudeville entertainer and theatrical writer - vaudeville seeming to be the pre-TV version of a variety show. He began his performing career in 1904 as a child in a family group, The Four Cohans - the song I've chosen was originally performed by himself and his sister, Josephine - and it spanned all the way to the 1940s (so he may be cropping up again later!).



George Cohan's statue in Times Square


The piece of theatre this particular song came from is "Yankee Prince", a comedy musical about boy meets girl, boy saves/gets girl. In a critical piece from the time written on the performance, it's accused that George Cohan can sometimes be a little raunchy/vulgar in his lyrics - something that's partially the reason why I chose this song. It fits with this vague idea of the atmosphere I have of the turn on the century; families sitting around gramophones, listening to seemingly innocent tunes that are actually a little suggestive. The lyrics are pretty much a courtship duet, a persistent guy going after the coy giggling girl.

Not to mention the title seemed fitting for the beginning of this blog!

More of the same: Try George M Cohan Tonight, a greatest hits that has a fantastic New York sound to it.

Asrael

The next selection is a little more somber than the bright lights and comedy of Broadway. The Asrael Symphony (or full title: The Asrael Symphony for large orchestra in C minor) is a Czech classical piece composed by Josef Suk in 1905-1906. You can listen to it in its entirety on Spotify here.

The title may seem slightly familiar to you - if you're pop-cultured like me, as the character Jason Lee plays in Dogma, or if you're slightly more sophisticated from Islamic and Jewish mythology. Either way it's the same thing; a name for the angel of the death. If you take the best bits from various mythology he's depicted as a monster made up of eyes and tongues, with four faces and four thousand wings, who writes people's names in a big book when they're born and erases them when they die.

Knowing this, it's no surprise to find out this piece was written at an emotionally turbulent time in the Czech composer and violinist Josef Suk's life. Begun when his father-in-law and teacher Antonin Dvorak (nb: there should be more accents in that), his wife also died halfway through the composition.

More of the same: Try listening to the quite dramatic sounding Cello Concerto in B Minor by Antonin Dvorak, the man who inspired Asrael.

Andrew B Sterling

Andrew Sterling was a vaudeville writer and lyricist. He mainly partnered with Harry Von Tilzer, who I'll probably take a look at later. Like George Cohan, he's inducted into the the Songwriters Hall of Fame. He didn't seem to be a performer, and although he had a lot of hits in the 1900's/is said to be one of the greatest American popular standard lyricists there doesn't seem to be a lot of information on him around!

The two biggest songs he wrote words for in this decade are Meet Me in St Louis, Louis (performed here by Judy Garland, original performance by Bill Murray in poor quality here) and Wait Til The Sun Shines, Nellie (performed here by Buddy Holly).

More of the same: His partner Harry Von Tilzer is much better documented - try one of his greatest hits, Bird in a Gilded Cage.

YYZ: A Century of Music

Alright, so what's this blog all about?

It's intended as a learning process. I want to know a lot more about music than I already do, I enjoy some history and research, so I figured I'd compile a list for myself of an A-Z of music for every decade. It's not intended as any kind of comprehensive guide - it's just me discovering music and welcoming anyone who's interested along for the ride!

I'm not a professional, just an interested person - so more of this will probably be historical comments and finding things that sound good rather than full on music critique.

Why YYZ?

The first name I thought of was XXY, because I intend on making the entry titles in that format. For example, 30A would be the A entry for the 1930's. Then I thought, why not shift it up one letter and make it more music related?

For those of you who don't get the reference: Rush – YYZ (Spotify link)

Your musical knowledge sucks.

Well, yeah, that's kind of the point. If you want to show me the error of my ways, feel free to leave something in the comments section - this is all about learning! If all goes well, I should know very little when I start at A, and roughly what I'm talking about by the time I get to Z in a decade.

Why would you put both Harold Arlen and Andrew Sterling under A?!


Because I like living on the edge.