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Stan Freberg Best

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catalog number: CDCOL2733

weight in Kg 0,100

 

Item is temporarily out of stock.
Approx. delivery time: up to 3 weeks. (if available from supplier)

$22.28 *
 
 

Stan Freberg: Best

(1998/COL/EMI) 21 tracks 1950-58
 

Songs

Freberg, Stan - Best CD 1
1: John & Marsha
2: I've Got You Under My Skin
3: That's My Boy
4: Try
5: The World Is Waiting For The Sunrise
6: St. George And The Dragonet
7: Little Blue Riding Hood
8: Christmas Dragnet (Yulenet) Part 1
9: Christmas Dragnet (Yulenet) Part 2
10: C'est Si Bon (It's So Good)
11: A Dear John & Marsha Letter
12: Sh-Boom
13: The Yellow Rose Of Texas
14: The Great Pretender
15: Heartbreak Hotel
16: Rock Island Line
17: Banana Boat (Day-O)
18: Tele-Vee-Shun
19: Wun'erful, Wun'erful! (Side Uh-One)
20: Wun'erful, Wun'erful! (Side Uh-Two)
21: Green Christmas

 

Artikeleigenschaften von Stan Freberg: Best

  • Interpret: Stan Freberg

  • Albumtitel: Best

  • Format CD
  • Genre Pop

  • Music Genre Pop
  • Music Style Pop Vocal
  • Music Sub-Genre 281 Pop Vocal
  • Title Best
  • Release date 1998
  • Label COLLECTABLE

  • SubGenre Pop - Vocal Pop

  • EAN: 0090431273326

  • weight in Kg 0.100
 
 

Artist description "Freberg, Stan"

Stan Freberg

Rock music has always contained a strain of novelty records, and among them have been discs parodying the music itself. The earliest, and still the best, were made during the Fifties by Stan Freberg, who was born on August 7, 1926. He began on radio in the late Forties, doing impersonations, and was soon in demand as a voice for cartoon films.

His first record was 'John And Marsha' a satire on soap operas, for Capitol in 1950. The arrival of rock'n'roll provided him with a whole new area in which to exercise his satirical talent. He delighted in parodying the stylized recordings of both black and white performers, and he had a keen eye for the machinations of the get-rich-quick merchants in the music business. Among his hits were hilarious versions of Presley's 'Heartbreak Hotel', Donegan's sldffle version of 'Rock Island Line' and the Platters' The Great Pretender'.

He picked upon the most identifiable feature of the original — Presley's vocal echo, 11h Donegan's spoken introduction in an acquired drawl, and the doo-wop vocals and constant piano figure behind the Platters. Those features, in fact, which the established musi-cal world might have thought the most facile elements of the new music. The overall impression, however, is not one of distaste but of the creative brilliance of the satire. Freberg had, in any case, already parodied that pillar of the previous musical order, Johnnie Ray, and also Southern attitudes in `Yellow Rose Of Texas', plus the slick sleuth genre in 'St. George And The Dragonet'.

With 'Banana Boat' he returned to the 'making of a record theme' utilized on the rock parodies. As an extension of this, he came up with his own comment on one of the realities of rock with 'The Old Payola Roll Blues', which followed the late Fifties' bribery investi-gations and featured teenage idol 'Clyde Ankle'.

 
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