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Mike Pedicin Jive Medicin (CD)

Jive Medicin (CD)
 
 
 
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Artikel-Nr.: BCD15738

Gewicht in Kg: 0,115

Statt: 15,95 € * (12.54 % gespart)
13,95 € *
 
 

Mike Pedicin: Jive Medicin (CD)

Wenn Sie den Haley Sound mögen, dann müssen Sie Mike Pedicin versuchen. Zwischen 1955 und 1957 für RCA aufgenommen sind diese 32 Aufnahmen im Vegas Rock'n Roll Stil aufgenommen. Darunter sind Mambo Rock, I'm Hip, The Hot Bacarolle, When The Cats Come Marching In, Hotter Than A Pistol, The Beat, Save Us Preacher Davis... usw. Der Set wird abgerundet mit dem vielleicht ersten aufgenommen Live Rock'n Roll aus Detroit 1955.
 

Songs

Mike Pedicin - Jive Medicin (CD) Medium 1
1: Mambo Rock
2: I Want To Hug You, Kiss You, Squezze You
3: D-E-V-I-L
4: Rock-A-Bye (vers. 1)
5: I'm Hip
6: The Large, Large House (vers. 1)
7: Jackpot
8: Fe-Fi-Fo-Fum
9: The Hot Barcarolle
10: You Gotta Go
11: When The Cats Come Marching In
12: The Banjo Rock
13: The Large, Large House (vers. 2)
14: Rock-A-Bye (vers. 2)
15: Hotter Than A Pistol
16: Teen Age Fairy Tales
17: The Beat
18: Save Us, Preacher Davis
19: Close All the Doors
20: TD's Boogie
21: The Hucklebuck
22: Calypso Rock
23: Hi'Yo Silver
24: Tiger Rag
25: Ain't That A Shame
26: Crazy Ball
27: You Gotta Go!
28: When The Cats Come Marching In
29: I Want You To Be My Baby
30: Night Train/Sweet Georgia Brown
31: Rock-A-Bye
32: Hotter Than A Pistol

 

Artikeleigenschaften von Mike Pedicin: Jive Medicin (CD)

  • Interpret: Mike Pedicin

  • Albumtitel: Jive Medicin (CD)

  • Artikelart CD

  • Genre Rock 'n' Roll

  • Music Genre Rock 'n' Roll
  • Music Style Rock & Roll
  • Music Sub-Genre 201 Rock & Roll
  • Erscheinungsjahr 1993
  • Label Bear Family Records

  • Preiscode AH
  • SubGenre Rock - Rock'n'Roll

  • EAN: 4000127157386

  • Gewicht in Kg: 0.115
 
 

Interpreten-Beschreibung "Pedicin, Mike"

Mike Pedicin
To those who live by chart statistics alone, Mike Pedicin had only two hits: Large Large House, which hit #79 for one week in March 1956, and Shake A Hand which stuttered to #71 during its two week chart run in February 1958.
But there was more to Mike Pedicin than a mere three weeks on 'Billboard's' Hot 100. Coming of age in the era of Benny Goodman and Glenn Miller, he helped to develop a hybrid musical style which incorporated elements of swing and RE±B and led directly to the commercial genesis of rock'n'roll. Some called it 'house-rock', a reference to the casino lounges of Las Vegas and Atlantic City where many of the earliest rock'n'roll combos prospered.
Bill Haley and his Comets formed the vanguard of the movement by revamping Louis Jordan's sound and using Jordan's producer. Any direct comparison with other house-rockers would strain the facts but there were several prime movers who gained
reputations for staying power despite a lack of hit records.

The Treniers, a black band who gained their mass popularity on the New Jersey shore, especially Wildwood, were among the most important. Their handclapping, stomping, shouting blend of blues, swing and slapstick stepped out of Louis Jordan's slipstream and engendered a state of euphoria among clientelle who'd lost their shirts at the blackjack and roulette tables.
But most house-rocking bands were white and they stamped their Italian-American accents on a form of rock'n'roll radically different to the crazed rockabilly pulse of the rural South. The clubs and casino hotels of

Philadelphia and New Jersey played host to Freddie Bell and the Bellboys, the Tyrones, Don Haven and the Hi-Fis, Jimmy Cavello and his House Rockers (out of Syracuse, New York), the Playboys, Charlie Gracie and his Wildcats, the Esquire Boys (with Danny Cedrone who played the guitar solo in Rock Around The Clock), Billy Duke and his Dukes and Dave Appell and the Applejacks (whose pre-Cameo records were Haley-influenced).


Many of these musicians would have been perfectly at home in the rhythm section of a big band but the wartime economy had waned and big bands became economically unsupportable. Freed of the stiff restrictions imposed by large regimented sections, these bearers of the good news looked mainly towards looser forms of jazz and blues. "1 listened to WHAT and WDAS in Philly" Charlie Gracie recalled. "They had Joe Turner and B.B. King.

This is 1951 and only us kids knew who they were. My mother took me to see Bill Haley in 1952 when he and the Saddlemen were dressed up in cowboy suits but they'd added drums to a country band which was kinda unorthodox. 1 also bought Louis Prima and the Treniers but my own records (on Cadillac and 20th Century) retained the dying influence of the big bands.
For Mike Pedicin, nearly twenty years Gracie's senior, the influence of swing music was deep and inseparable. His greatest inspiration was Charlie Barnet, perhaps the jazziest of the white swing musicians, and he claims not to have heard any hillbilly music before making records of his own...

 
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