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Stan Freberg International Lampoon (CD)

International Lampoon (CD)

catalog number: CDACM4319

weight in Kg 0,100


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Stan Freberg: International Lampoon (CD)

(2008/ACROBAT) 26 tracks (76:12) 1951-57. The original Hit recordings and Stan's interpretations!


Stan Freberg - International Lampoon (CD) Medium 1
1: Wabash Blues  
2: John and Marsha  
3: I've Got You Under My Skin  
4: Cry  
5: Try  
6: The World Is Waiting for the Sunrise  
7: The World Is Waiting for the Sunrise  
8: C'est Si Bon  
9: C'est Si Bon (It's So Good)  
10: A Dear John Letter  
11: A Dear John and Marsha Letter  
12: Sh'boom (Life Could Be a Dream)  
13: Sh-Boom  
14: Wide Screen Mama Blues  
15: Rock Around Stephen Foster  
16: Yellow Rose of Texas  
17: Yellow Rose of Texas  
18: Heartbreak Hotel  
19: Heartbreak Hotel  
20: Rock Island Line  
21: Rock Island Line  
22: The Great Pretender  
23: The Great Pretender  
24: Banana Boat (Day-O)  
25: Banana Boat (Day-O)  
26: Tele-Vee-Shun  


Artikeleigenschaften von Stan Freberg: International Lampoon (CD)

  • Interpret: Stan Freberg

  • Albumtitel: International Lampoon (CD)

  • Format CD
  • Genre Pop

  • Music Genre Rock 'n' Roll
  • Music Style Rock & Roll Novelty / Special Interest
  • Music Sub-Genre 285 Novelty/Special Interest
  • Title International Lampoon (CD)
  • Label ACROBAT

  • SubGenre Pop - Vocal Pop

  • EAN: 0824046431921

  • 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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