Spike Jones - Strictly for Music Lovers   (4-Proper Properbox 5)
Item# PE0026
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Product Description

Spike Jones - Strictly for Music Lovers   (4-Proper Properbox 5)
PE0026. SPIKE JONES - STRICTLY FOR MUSIC LOVERS: Greatest Hits. 4-Proper Properbox 5 (incl.P1117-20), in Boxed Set w.23pp. Brochure. Very long out-of-print, Final Copy! - 604988990522

Disc 1

1 Barstool Cowboy From Old Barstow 2 Behind Those Swinging Doors 3 Red Wing 4 The Covered Wagon Rolled Right Along 5 Clink, Clink, Another Drink 6 Little Bo-Peep Has Lost Her Jeep 7 Pack Up Your Troubles In Your Old Kit Bag 8 Three Little Words 9 When Buddah Smiles 10 You're A Sap Mister Jap 11 Never Hit Your Grandma With A Shovel 12 Horsey, Keep Your Tail Up 13 Camptown Races 14 John Scotter Trot 15 Love For Sale 16 Moanin' Low 17 Cheatin' On The Sandman 18 Come Josephine In My Flying Machine 19 The Sailor With The Navy Blue Eyes 20 Der Fuehrer's Face 21 Hotcha Cornia (Hotcha Chornya-Russian Folk Songs) 22 I Wanna Go Back To West Virginia 23 Water Lou (Drip, Drip, Drip)

Disc 2

1 The Sheik Of Araby 2 Oh! By Jingo 3 I'm Going To Write Home 4 Hi Ho My Lady 5 I Know A Story 6 St-St-St-Stella 7 Hotcha Cornia (Hotcha Chornya-Russian Folk Songs) 8 Down In Jungle Town 9 As Time Goes By 10 People Will Say We're In Love 11 G.I. Haircut 12 It Never Rains In Sunny California 13 Wang Wang Blues 14 My Little Girl 15 The Sound Effects Man 16 Ragtime Cowboy Joe 17 The Vamp 18 He Broke My Heart In Three Places 19 Besame Mucho 20 I'm Goin' Back To Where I Came From 21 There's A Fly On My Music 22 Row, Row, Row 23 I Wanna A Gal Just Like The Gal That Married Dear Old Dad 24 Jingle Bells

Disc 3

1 Cocktails For Two 2 And The Great Big Saw Came Nearer And Nearer 3 Red Grow The Roses 4 Jamboree Jones 5 Whittle Out A Whistle 6 Casey Jones 7 At Last I'm In First Wtih You 8 Down By The O-Hi-O 9 Holiday For Strings 10 Cocktails For Two 11 Leave The Dishes In The Sink, Ma 12 Serenade To A Jerk 13 Drip, Drip, Drip (Sloppy Lagoon) 14 Chloe 15 The Blue Danube 16 Black Bottom 17 Toot Toot Tootsie, Goodbye 18 MacNamara's Band 19 Siam 20 Liebestraume 21 You'll Always Hurt The One You Love 22 That Old Black Magic 23 Mother Goose Medley 24 Hawaiian War Chant

Disc 4

1 Old McDonald Had A Farm 2 I Dream Of Brownie The Light Blue Jeans 3 The Glow Worm 4 Laura 5 Jones Polka 6 The Jones Laughing Record 7 William Tell Overture 8 My Pretty Girl 9 Rhapsody From Hunger (Y) 10 I'm In The Mood For Love 11 When Yuba Plays The Rhumba On The Tuba 12 (I'm Forever) Blowing Bubble Gum 13 Love In Bloom 14 The Man On The Flying Trapeze 15 Popcorn Sack 16 Our Hour (The Puppy Love Song) 17 My Old Flame 18 People Are Funnier Than Anybody 19 By The Beautiful Sea 20 I'm Getting Sentimental Over You 21 I Kiss Your Hand Madame 22 All I Want For Christmas (Is My Two Front Teeth) 23 Ill Barkio (Il Bacio) 24 None But The Lonely Heart (A Soaperetta)


“Lindley Armstrong Jones was a musical genius. In the wild and woolly days before multi-track recording, MTV, and certainly digital entertainment content, Spike Jones put together a top-flight musical organization of which the world has not seen the likes since. Known as the City Slickers, the emphasis was on comedy, primarily doing dead-on satires of popular songs on the hit parade and taking the air out of pompous classical selections as well. Not merely content to do cornball renderings of standard material or trite novelty tunes for comedic effect, Jones' musical vision encompassed whistles, bells, gargling, broken glass, and gunshots perfectly timed and wedded to the most musical and unmusical of source points. His stage show was no less mind-boggling, needing a full railroad car just to carry the props alone, all presented without electronic gimmickry of any kind, with visuals that would make your eyes pop out of your head. Though he often downplayed his musical achievements (all part of the master plan of selling the idea to the general public), the fact remains that Spike was a strict bandleader and taskmaster, making sure his musicians were precision tight and adept in a variety of musical styles from Dixieland to classical, with a caliber of musicianship several notches higher than most big bands of the day that played so-called ‘straight� music.

In other words, Jones was no dummy. He knew what he was doing when he put the whole concept together - checkerboard suits and all. It gave him Top Ten hits on phonograph records and proved immensely popular as a stage show, in movies, and on television. (It became a badge of honor with pop musicians that you really hadn't tasted true success until Spike Jones & The City Slickers had destroyed your song.) A definite precursor to the video age, Jones didn't merely play the songs funny, he illustrated them as well, a total audio and visual assault for the senses. Jones (the son of a railroad man, hence the nickname) had started as a jazz drummer and radio session player working with top-drawer stars like Fred Astaire and Bing Crosby, among others. But as in-demand as he might have been, musician union restrictions only allowed so many radio dates to be worked by one drummer. To this end (and to distinguish himself from the pack), Jones added a full set of tuned cowbells, guns, whistles, and sirens to his already existing drum set, thus insuring steady work as a both a drummer and small-scale sound effects man.

Although these additions made him unique in a field loaded with anonymous sidemen, Jones had bigger and crazier ideas [and]he formed the City Slickers in the early '40s. In 1942, a strike by the American Federation of Musicians prevented Jones from making commercial recordings for over two years. He could, however, make records for radio broadcasts, thus ‘Der Fuehrer's Face�, became not only a national hit but a national mania, and Jones' self-named ‘musical depreciation revue� was off and running.

The bands assembled over the years under the City Slickers banner would feature everyone from singers, midgets, acrobats, and vaudeville comics to musicians who could just plain blow their brains out, all hand-picked by Jones. From George Rock's braying, high-register trumpet and kiddie voices to Freddie Morgan's incredible rubber-faced pantomime banjo shenanigans, from Sir Frederick Gas' insane ‘twig� bowing to Billy Barty's Liberace impressions, here was a band that truly defied description. Musicians who could play multiple instruments in a wide variety of styles were commonplace, making the City Slickers the crackerjack unit they were. But certain members of the troupe (like Gas or Barty) were hired because they did one thing extremely well, and would proceed to do it on a nightly basis, key players all.

Jones' musical vision also encompassed a total assault against the conventions of general show-business pomposity. Whatever the newest fad (current singing stars, radio, television, and movie personalities), if Jones could figure a way to ridicule it for the ‘this month's flavor� shallowness of it all, the City Slickers torch was duly applied. And once you heard Jones' version of the tune, you could never go back and take any of those idols of the moment quite as seriously as you might have before. Although parodies of pop music continued to proliferate, the simple fact remains that Spike Jones & His City Slickers did it better than anyone before or since.�

- Cub Koda, allmusic.com