03:25 68. Other associates like Del Porter departed because they felt their contributions were taken for granted. In doing so, he became a major influence on the Slickers in their evolution from a pleasantly silly cornball style to the riotous, all-stops-out zaniness that put them over the top. The busy young drummer commuted to Hollywood studios in a station wagon… Spike Jones And His City Slickers Profile: Orchestra / band, active from the early 1940s to the mid 1950s, which specialized in performing satirical arrangements of popular songs. Within a year of their first Victor session, most of the sidemen involved -- including Botkin, Jackson, Wrightsman, and bassist Hank Stern -- departed for greener pastures. Along with Carl Grayson, Jones came to rely heavily on Ingle for the gags and vocal effects used to annihilate the songs. Still later the collection was transferred to CD. Wrightsman, an ace jazz pianist who didn't care for the Slickers' slam-bang style, gave his seat behind the keyboard to Frank Leithner, who played The Eddie Cantor Show with Spike. Del Porter sang the numbers and did the basic arrangements with trombonist King Jackson, who pumped a lot of imagination into the group. Adding to the puzzle is the existence of a concurrent Jones band which made experimental "penny records" for the short-lived Cinematone Corporation. BYU Mus Ref ID. 78_liebestraum_spike-jones-and-his-city-slickers-red-ingle-richard-morgan-porter-liszt_gbia7005654a Local_id 2 Location Denmark Scanner Internet Archive Python library 1.9.9 Scanningcenter George Blood, L.P. He went from playing serious music both with and for other artists to starting his own band that featured: whistles, auto horns, and other noisemaking equipment. The second group included not only Porter but future Slickers Perry Botkin (banjo), Kingsley Jackson (trombone), and Stanley Wrightsman (piano). Our Hour (The Puppy Love Song) Spike Jones & His City Slickers. But within a few short years the rigors of the road -- and an invention called television -- began to take their toll on the zany band and its once hugely popular enterprise. Through the 1940s and early 1950s, his band primarily recorded under the name Spike Jones And His City Slickers. A film intended for Bud Abbott and Lou Costello that ended up starring Hugh O'Brian and Buddy Hackett. The band reached its zenith in the late '40s -- the very top of its game -- with The Musical Depreciation Revue, a Coca Cola-sponsored CBS radio series, and some of their most musically sophisticated records, including "Rhapsody from Hunger" and "Morpheus." The precise evolution of the band, which consisted of various studio musicians of Spike's and Del's acquaintance, is unclear. Spike Jones kept up a frenetic pace in the late 1930s as a freelance studio musician for motion pictures, records, and radio shows. Botkin, who was too busy with radio work, brought Luther Roundtree in to replace him on banjo. This alternative group played nightclub engagements and was an artistic success, but the paying public preferred the City Slickers and stayed away. 78_the-charleston_spike-jones-and-his-city-slickers-henderson-desylva-brown_gbia0083052 Location USA Restored True Run time 0:16:52 Scanner Internet Archive Python library 1.7.7 Scanningcenter George Blood, L.P. But he was forced to admit: "It's been eight years blowing over, and it's blowing better now than ever. Find many great new & used options and get the best deals for SPIKE JONES AND CITY SLICKERS - Poet & Peasant - CD - Import - **SEALED/ NEW** at the best online prices at … Most of the footage was given over to Spike Jones and His City Slickers, about the all hands members of a 1910 fire company about to be mechanized. 125 fans Top titres. 02:22 87. Dick "Red" Morgan, who had recorded with Alvino Rey, joined on banjo and guitar; trumpeter George Rock was snatched from the employ of rival music butcher Freddie Fisher, and soon became the dominant sound in Jones' ensemble. Strictly For Music Lovers. Spike Jones kept up a frenetic pace in the late 1930s as a freelance studio musician for motion pictures, records, and radio shows. Joe "Country" Washburne, a first-rate jazz musician who had performed with Ted Weems, eventually took over most of the arranging duties from Porter. Clink Clink Another Drink . Spike Jones kept up a frenetic pace in the late 1930s as a freelance studio musician for motion pictures, records, and radio shows. Most of them had other jobs and considered the band a secondary job. Spike Jones & His City Slickers Biography by Jordan R. Young + Follow Artist. "We were freelance musicians who were having a ball doing crazy music.". The DVDs contain classic TV performances by Spike Jones and the City Slickers from the Colgate Comedy Hour and the All Star Revue, perhaps the best examples of the variety show format and video production in television's early days (1951-2). It was no more than a spare time proposition, and many of them -- who had steady work in radio -- departed after a rehearsal or two. Jones released his version as a single in 1948 and it peaked at #6 on the charts. Listen to music from Spike Jones And His City Slickers like All I Want For Christmas (Is My Two Front Teeth), You Always Hurt The One You Love & more. Size 10.0 Source 78 User_cleaned Kevin Coupe User_metadataentered Sean Gaston User_transferred Sean Gaston George Rock (October 11, 1919 – April 12, 1988) was a trumpet player and singer with various bands before starring with Spike Jones and His City Slickers.. A large man, he attended Illinois Wesleyan University in Bloomington, Illinois on a football scholarship, before turning pro as a … Spike Jones kept up a frenetic pace in the late 1930s as a freelance studio musician for motion pictures, records, and radio shows. Hank Stern's successor on tuba and string bass was a man of almost limitless talent. About Spike Jones & His City Slickers Spike Jones kept up a frenetic pace in the late 1930s as a freelance studio musician for motion pictures, records, and radio shows. Year of release: 1977 One listen to this 3-LP set simply called SPIKE JONES makes it eminently clear that beyond the blank pistol, cowbells and other strange noisemakers Spike punctuated his songs with, the City Slickers were one and all incredibly talented musicians. Source of Data. Bandleader. ", Spike Jones kept up a frenetic pace in the late 1930s as a freelance studio musician for motion pictures, records, and radio shows. Ernest "Red" Ingle, a colleague of Washburne's from the Weems band, was more than capable on the saxophone; he was hired less for his musical skills than his comic genius. Jones' so-called New Band, which combined folk music with traditional Dixieland jazz in the early '60s -- and disappointed his old fans -- was "just a temporary musical disarmament until rock & roll blows over." Jones and his band recorded under the title Spike Jones and His City Slickers from the early 1940s to the mid-1950s, and toured the United States and Canada as The Musical Depreciati…