Browse content similar to The Recording Revolution. Check below for episodes and series from the same categories and more!
Line | From | To | |
---|---|---|---|
MUSIC: My Favourite Things from The Sound Of Music | 0:00:02 | 0:00:05 | |
Songs - some my favourite things. I bet they're some of yours too. | 0:00:09 | 0:00:14 | |
How about this one? | 0:00:14 | 0:00:15 | |
MUSIC: You've Lost That Lovin' Feelin' by The Righteous Brothers | 0:00:15 | 0:00:22 | |
You've Lost That Lovin' Feelin' by The Righteous Brothers. | 0:00:22 | 0:00:26 | |
Or how about a bit of Springsteen? | 0:00:26 | 0:00:28 | |
MUSIC: Born In The USA by Bruce Springsteen | 0:00:28 | 0:00:32 | |
Born In The USA, that iconic opening riff. | 0:00:37 | 0:00:40 | |
Now, there's genius in the writing of all these songs, | 0:00:40 | 0:00:44 | |
but, for me, that's not the whole story. | 0:00:44 | 0:00:46 | |
To really understand songs like this, | 0:00:46 | 0:00:48 | |
I think we need to know a whole lot more. | 0:00:48 | 0:00:51 | |
We must examine every stage in the life cycle of songs | 0:00:53 | 0:00:56 | |
to appreciate why they mean so much to us. | 0:00:56 | 0:00:59 | |
Not only how they're written, but also performed, recorded | 0:00:59 | 0:01:02 | |
and how we listen to them. | 0:01:02 | 0:01:04 | |
MUSIC: Da Doo Ron Ron by The Crystals | 0:01:04 | 0:01:08 | |
This is the magical alchemy | 0:01:08 | 0:01:10 | |
through which songs become the soundtrack of our lives | 0:01:10 | 0:01:13 | |
and how Da Doo Ron Ron by The Crystals | 0:01:13 | 0:01:15 | |
became the ultimate teen anthem. | 0:01:15 | 0:01:17 | |
I'll investigate how new ways emerged to record music | 0:01:21 | 0:01:25 | |
and how this helped musicians like The Beatles | 0:01:25 | 0:01:27 | |
to entirely reimagine what songs could be. | 0:01:27 | 0:01:30 | |
MUSIC: Tomorrow Never Knows by The Beatles | 0:01:30 | 0:01:33 | |
I'll meet pop genius Brian Wilson, | 0:01:33 | 0:01:35 | |
in whose hands songs became three-minute symphonies. | 0:01:35 | 0:01:39 | |
MUSIC: Good Vibrations by The Beach Boys | 0:01:39 | 0:01:42 | |
And join me to experience the different ways that songs | 0:01:44 | 0:01:47 | |
have been consumed by us as listeners, | 0:01:47 | 0:01:49 | |
including the futuristic world of the silent disco. | 0:01:49 | 0:01:54 | |
But, in this first episode, I'm going to begin | 0:01:55 | 0:01:57 | |
when everything changed in our relationship with music - | 0:01:57 | 0:02:01 | |
when songs were recorded for the first time, | 0:02:01 | 0:02:03 | |
giving them a new presence, availability and global reach. | 0:02:03 | 0:02:07 | |
When newfangled machines called record players | 0:02:07 | 0:02:09 | |
began a listening revolution. | 0:02:09 | 0:02:11 | |
I'll explain why the songs of writer Irving Berlin appealed then, | 0:02:15 | 0:02:19 | |
and still do now. | 0:02:19 | 0:02:20 | |
We'll hear the hits of the day | 0:02:21 | 0:02:23 | |
and the glorious way a singer like Louis Armstrong interpreted them. | 0:02:23 | 0:02:27 | |
MUSIC: I Cover The Waterfront by Louis Armstrong | 0:02:27 | 0:02:29 | |
How the microphone brought a new kind of singing called crooning. | 0:02:31 | 0:02:35 | |
MUSIC: The Very Thought of You by Nat King Cole | 0:02:35 | 0:02:39 | |
And how all of this together began our modern love affair with songs. | 0:02:39 | 0:02:44 | |
MUSIC: Won't Get Fooled Again by The Who | 0:02:55 | 0:02:59 | |
Now I'm listening to MY all-time favourite thing. | 0:03:03 | 0:03:06 | |
It's Won't Get Fooled Again by The Who. | 0:03:06 | 0:03:09 | |
When I was 16, I heard this song for the first time. | 0:03:09 | 0:03:12 | |
I loved it then, and I still do now. | 0:03:12 | 0:03:16 | |
What an opening. | 0:03:16 | 0:03:17 | |
A completely new-sounding use of organ, | 0:03:17 | 0:03:19 | |
Townshend's crashing guitar, | 0:03:19 | 0:03:21 | |
then the driving beat of The Who at the top of their game. | 0:03:21 | 0:03:25 | |
So try and conjure up a world without this pleasure. | 0:03:40 | 0:03:44 | |
A time when any kind of recording simply didn't exist. | 0:03:44 | 0:03:48 | |
When, apart from occasional musicmaking, | 0:03:48 | 0:03:50 | |
there was a strange silence in the home. | 0:03:50 | 0:03:53 | |
Imagine. | 0:03:54 | 0:03:55 | |
Imagine. | 0:03:59 | 0:04:00 | |
And let's go back to New York, September 1893, | 0:04:00 | 0:04:03 | |
when a group of poor immigrants | 0:04:03 | 0:04:05 | |
arrived off a transatlantic passenger ship from Europe. | 0:04:05 | 0:04:08 | |
Making this journey was a five-year-old Jewish boy, | 0:04:10 | 0:04:13 | |
his family refugees from pogroms in Eastern Europe. | 0:04:13 | 0:04:17 | |
He was Irving Berlin. | 0:04:17 | 0:04:19 | |
Destined to become one of the greatest songwriters | 0:04:19 | 0:04:22 | |
of the 20th century | 0:04:22 | 0:04:23 | |
and a witness to this early story of the sound of song. | 0:04:23 | 0:04:27 | |
Berlin grew up on New York's Lower East Side, Jewtown it was called, | 0:04:30 | 0:04:35 | |
living in a typical tenement block. | 0:04:35 | 0:04:37 | |
Irving left home at 14 for a life of sleeping rough, eating scraps | 0:04:37 | 0:04:41 | |
and wearing hand-me-down clothes, later remarking that | 0:04:41 | 0:04:44 | |
everybody should have a Lower East Side in their lives. | 0:04:44 | 0:04:49 | |
It was in downtown saloon bars that the teenage Berlin | 0:04:49 | 0:04:52 | |
began singing and playing piano, | 0:04:52 | 0:04:54 | |
where he came under the influence of ragtime music | 0:04:54 | 0:04:57 | |
and began writing songs. | 0:04:57 | 0:04:59 | |
In 1909, Irving got his first break | 0:05:02 | 0:05:05 | |
when he began working for a music publisher on Tin Pan Alley. | 0:05:05 | 0:05:09 | |
Tin Pan Alley, so-called because, | 0:05:10 | 0:05:12 | |
after walking the bustling, hustling streets | 0:05:12 | 0:05:14 | |
that housed New York's music business, | 0:05:14 | 0:05:16 | |
journalist Monroe Rosenfeld wrote that the cacophony of upright pianos | 0:05:16 | 0:05:21 | |
sounded like tin pans clashing in a busy kitchen. | 0:05:21 | 0:05:24 | |
Throughout his Tin Pan Alley days, | 0:05:28 | 0:05:30 | |
Berlin would never learn to read or write music | 0:05:30 | 0:05:33 | |
and, at the keyboard, ignorant of key signatures and harmonic theory, | 0:05:33 | 0:05:37 | |
he kept it simple. | 0:05:37 | 0:05:39 | |
HE PLAYS RAGTIME | 0:05:39 | 0:05:42 | |
And he was always happiest with the black notes on the keyboard. | 0:05:42 | 0:05:47 | |
Now, the thing about those notes | 0:05:47 | 0:05:48 | |
is that they're proud of the white notes. They're slightly higher. | 0:05:48 | 0:05:51 | |
It makes it much easier | 0:05:51 | 0:05:53 | |
to get from one note to another | 0:05:53 | 0:05:55 | |
and it falls naturally under the hand shape as well, so that... | 0:05:55 | 0:05:59 | |
HE PLAYS RAGTIME | 0:05:59 | 0:06:01 | |
For a lad like him, was not only a great way into playing the piano, | 0:06:01 | 0:06:05 | |
it really influenced the first songs that he wrote. | 0:06:05 | 0:06:08 | |
From the beginning, Berlin wrote the music and the lyrics | 0:06:10 | 0:06:13 | |
and expressed a determination that both should be easy on the ear. | 0:06:13 | 0:06:18 | |
"My songs aim to be a conversation set to music," he said. | 0:06:18 | 0:06:22 | |
But, perhaps more importantly, | 0:06:24 | 0:06:26 | |
he wanted to create a sound to his songs that captured the energy | 0:06:26 | 0:06:29 | |
and excitement of the world around him in New York. | 0:06:29 | 0:06:32 | |
As he also observed, "All the old rhythm was gone | 0:06:32 | 0:06:36 | |
"and, in its place, was heard the hum of an engine. | 0:06:36 | 0:06:39 | |
"The new age demanded new music for new action." | 0:06:39 | 0:06:42 | |
In 1911, when Irving Berlin was only 23, | 0:06:44 | 0:06:47 | |
he first realised this ambition by writing Alexander's Ragtime Band. | 0:06:47 | 0:06:53 | |
Berlin was always searching for that memorable melodic phrase | 0:06:53 | 0:06:57 | |
which, as he put it, he would keep at | 0:06:57 | 0:06:59 | |
until he could hum it out into something definite. | 0:06:59 | 0:07:02 | |
In the case of Alexander's Ragtime Band... | 0:07:02 | 0:07:04 | |
HE HUMS THE TUNE | 0:07:04 | 0:07:05 | |
Now, that... | 0:07:08 | 0:07:09 | |
That sticks in the mind. But then you put under it... | 0:07:13 | 0:07:16 | |
that fantastic syncopation, the sound of modern America, | 0:07:16 | 0:07:20 | |
a sort of sophistication. | 0:07:20 | 0:07:22 | |
But it's about the tension between the left hand and the right. | 0:07:22 | 0:07:25 | |
There's two different rhythms going on at once there - | 0:07:28 | 0:07:31 | |
syncopation is that rhythm between the left hand and the right. | 0:07:31 | 0:07:36 | |
And in the middle, a little bit of humour. | 0:07:39 | 0:07:42 | |
Those black notes... | 0:07:42 | 0:07:44 | |
sound just like a bugle call. | 0:07:44 | 0:07:46 | |
HE PLAYS BUGLE CALL MELODY | 0:07:46 | 0:07:48 | |
Alexander's Ragtime Band | 0:07:52 | 0:07:54 | |
was a song that Berlin would be asked to sit down and play | 0:07:54 | 0:07:56 | |
again and again throughout his long life. | 0:07:56 | 0:07:59 | |
# Up to the man, up to the man | 0:08:00 | 0:08:03 | |
# Who's the leader of the band... # | 0:08:03 | 0:08:06 | |
And no wonder. | 0:08:06 | 0:08:07 | |
The song has such appeal that it's become a standard - | 0:08:07 | 0:08:10 | |
immortal even - still regularly performed and recorded today. | 0:08:10 | 0:08:15 | |
# Alexander's Ragtime Band. # | 0:08:15 | 0:08:19 | |
# Come on along, come on along... # | 0:08:21 | 0:08:23 | |
Nearly two million sheet music copies of Alexander's Ragtime Band | 0:08:23 | 0:08:27 | |
were sold worldwide, making it an international hit. | 0:08:27 | 0:08:32 | |
That had always been the traditional measure of a song's success - | 0:08:32 | 0:08:36 | |
but by now it was also available through recordings of the song. | 0:08:36 | 0:08:40 | |
And three of these recordings were made by | 0:08:40 | 0:08:43 | |
the company of Thomas Edison, | 0:08:43 | 0:08:45 | |
who, in 1877, began the revolution in recording | 0:08:45 | 0:08:48 | |
that would give us the 20th-century sound of song. | 0:08:48 | 0:08:52 | |
This revolution happened here, | 0:08:53 | 0:08:55 | |
at Thomas Edison's Invention Factory in West Orange, New Jersey. | 0:08:55 | 0:08:59 | |
Every kind of scientific investigation took place | 0:09:00 | 0:09:03 | |
in these labs - | 0:09:03 | 0:09:04 | |
one of the most urgent was into sound reproduction. | 0:09:04 | 0:09:07 | |
In the last quarter of the 19th century a race was on | 0:09:09 | 0:09:11 | |
between Edison and his rivals | 0:09:11 | 0:09:13 | |
to capture this hitherto elusive phenomenon. | 0:09:13 | 0:09:16 | |
The big bang moment when Edison became the very first | 0:09:19 | 0:09:22 | |
to record and play back sound | 0:09:22 | 0:09:24 | |
was explained to me by Professor Paul Israel. | 0:09:24 | 0:09:27 | |
This is the first machine. It was made in December of 1877... | 0:09:27 | 0:09:32 | |
-Wow! -..and astounded people, | 0:09:32 | 0:09:34 | |
because the simple device suddenly could not just record | 0:09:34 | 0:09:37 | |
but play back sound - something that nobody had ever done before. | 0:09:37 | 0:09:40 | |
Nobody had ever heard recorded sound. | 0:09:40 | 0:09:42 | |
Now we can't think about life without it, and yet there it was. | 0:09:42 | 0:09:45 | |
These first ever recorders captured sound onto tinfoil - | 0:09:45 | 0:09:49 | |
and the words of Edison speaking into the mouthpiece | 0:09:49 | 0:09:52 | |
of what he called a phonograph | 0:09:52 | 0:09:54 | |
were the first sounds ever to be recorded. | 0:09:54 | 0:09:57 | |
EDISON: The first words I spoke | 0:09:57 | 0:09:59 | |
in the original phonograph - | 0:09:59 | 0:10:01 | |
"Mary had a little lamb, its fleece was white as snow. | 0:10:01 | 0:10:05 | |
"And everywhere that Mary went, the lamb was sure to go." | 0:10:05 | 0:10:09 | |
By 1888, Edison had developed a more elaborate machine | 0:10:09 | 0:10:12 | |
that recorded onto wax cylinders rather than tinfoil | 0:10:12 | 0:10:16 | |
to get a better sound quality to the human voice. | 0:10:16 | 0:10:18 | |
The real business, they thought, would be dictating. Right? | 0:10:20 | 0:10:23 | |
These would be dictating machines, office machines, | 0:10:23 | 0:10:25 | |
so that's how this was originally sort of conceived as a business. | 0:10:25 | 0:10:29 | |
The company developed this "talking machine" | 0:10:29 | 0:10:32 | |
as a useful product for the office, | 0:10:32 | 0:10:34 | |
and these Edison Dictaphones used the first ever headphones - | 0:10:34 | 0:10:37 | |
but Edison realised that the real money | 0:10:37 | 0:10:39 | |
lay not in words, but recorded music. | 0:10:39 | 0:10:43 | |
So, beginning in '87, | 0:10:43 | 0:10:44 | |
he actually thinks that the biggest part of the business | 0:10:44 | 0:10:47 | |
-might be selling recordings. -Ah! | 0:10:47 | 0:10:50 | |
And, by the spring of 1889, Edison is producing commercial recordings. | 0:10:50 | 0:10:55 | |
When he sends out phonographs to his friends, | 0:10:55 | 0:10:58 | |
he sends out musical records as well. | 0:10:58 | 0:11:00 | |
Shared domestic enjoyment of the first recordings | 0:11:00 | 0:11:03 | |
was followed by a more public and commercial outlet for music. | 0:11:03 | 0:11:07 | |
Another fantastical device was invented - | 0:11:07 | 0:11:09 | |
the jukebox. | 0:11:09 | 0:11:11 | |
Over time, What begins to happen is these phonograph parlours are set up. | 0:11:11 | 0:11:15 | |
-Mm. -Where you could go and listen to a number of different recordings. | 0:11:15 | 0:11:20 | |
-Yeah. -And these machines are also put up in railway stations | 0:11:20 | 0:11:23 | |
and other places where people are moving about and waiting for | 0:11:23 | 0:11:27 | |
something to happen - like a train - and they could listen to a recording. | 0:11:27 | 0:11:31 | |
For the first few years of recorded music, | 0:11:31 | 0:11:34 | |
-this is how most people heard music. -Yeah. So, in a way, | 0:11:34 | 0:11:37 | |
a machine like this is actually DEFINING popular music, isn't it? | 0:11:37 | 0:11:41 | |
This is where popular music was first being heard | 0:11:41 | 0:11:44 | |
-outside of live performances. -Yeah. | 0:11:44 | 0:11:46 | |
MUSIC: By The Light Of The Silvery Moon | 0:11:46 | 0:11:47 | |
Just to look at this photograph | 0:11:47 | 0:11:49 | |
is to understand the sheer novelty and surprise of recorded sound. | 0:11:49 | 0:11:53 | |
These people had simply heard nothing like this | 0:11:54 | 0:11:57 | |
before in their lives. | 0:11:57 | 0:11:58 | |
Look at this woman's face, | 0:12:01 | 0:12:03 | |
and see the sheer joy and wonder of listening to her favourite thing. | 0:12:03 | 0:12:07 | |
With a demand for new songs, recording took off. | 0:12:11 | 0:12:15 | |
-HE GASPS -Beautiful room. -Right! | 0:12:15 | 0:12:17 | |
So, this is the music room. | 0:12:17 | 0:12:19 | |
This is where the earliest recordings were made, | 0:12:19 | 0:12:22 | |
where Edison and people working with him were selecting out | 0:12:22 | 0:12:26 | |
who was going to be recorded, and what music was going to be recorded. | 0:12:26 | 0:12:29 | |
Wow! | 0:12:29 | 0:12:31 | |
# Beautiful dreamer | 0:12:31 | 0:12:35 | |
# Wake unto me | 0:12:35 | 0:12:39 | |
# Starlight and dewdrops are waiting for thee... # | 0:12:39 | 0:12:43 | |
What was Edison's view of popular song? | 0:12:43 | 0:12:46 | |
What was his take on what would sell to an audience? | 0:12:46 | 0:12:49 | |
For Edison, the popular music that he was recording | 0:12:49 | 0:12:53 | |
was the most sentimental kind - | 0:12:53 | 0:12:56 | |
a ballad, looking to the past, to the country, um... | 0:12:56 | 0:12:59 | |
A lot of the people who came from the country to the city | 0:12:59 | 0:13:02 | |
-longed for that life back home. -Of course. | 0:13:02 | 0:13:05 | |
-Small-town America was really his market. -Yeah. | 0:13:05 | 0:13:07 | |
And he was recording the more old-fashioned song. | 0:13:07 | 0:13:10 | |
# List while I woo thee... # | 0:13:10 | 0:13:13 | |
The music recorded by the Edison Company | 0:13:13 | 0:13:15 | |
could be bought as wax cylinders | 0:13:15 | 0:13:17 | |
that played on the first machines to enter the home. | 0:13:17 | 0:13:20 | |
And it was the singing voice which was, from the beginning, | 0:13:21 | 0:13:24 | |
so appealing - able to provide the warm and sentimental sound | 0:13:24 | 0:13:28 | |
that made the parlour songs of the day so popular. | 0:13:28 | 0:13:31 | |
# How'd you like to spoon with me...? # | 0:13:32 | 0:13:35 | |
But how were these songs of the late 19th and early 20th century | 0:13:35 | 0:13:39 | |
actually recorded? | 0:13:39 | 0:13:41 | |
# Call me little tootsy-wootsy baby... # | 0:13:41 | 0:13:44 | |
To find out, I got a trio together to record a hit | 0:13:44 | 0:13:48 | |
from the 1906 West End Musical The Earl And The Girl. | 0:13:48 | 0:13:52 | |
It's the mildly risque How'd You Like To Spoon With Me? - | 0:13:53 | 0:13:57 | |
words by Edward Laska and music by Jerome Kern. | 0:13:57 | 0:14:00 | |
That's fine - nothing... | 0:14:00 | 0:14:02 | |
You can't do anything wrong at this point, | 0:14:02 | 0:14:04 | |
this is just to give us an idea we've got everybody on at about the right level. | 0:14:04 | 0:14:07 | |
Patricia Hammond is our singer, | 0:14:07 | 0:14:10 | |
playing this strange-looking violin is Aleks Kolkowski... | 0:14:10 | 0:14:14 | |
and there's me on upright piano. | 0:14:14 | 0:14:16 | |
We could try another quick test with a slightly different horn... | 0:14:16 | 0:14:19 | |
which might pick up more piano, | 0:14:19 | 0:14:21 | |
and slightly change the way that your voice is appreciated. | 0:14:21 | 0:14:24 | |
Our ringmaster is early recording expert Duncan Miller. | 0:14:24 | 0:14:28 | |
Get you a little bit higher on that. | 0:14:28 | 0:14:30 | |
A session like this had to be tightly controlled by a recordist - | 0:14:30 | 0:14:34 | |
where to place the musicians | 0:14:34 | 0:14:36 | |
and how they should play to the recording horn were crucial. | 0:14:36 | 0:14:39 | |
No wonder the first record producers | 0:14:39 | 0:14:41 | |
were so coveted by the original record companies. | 0:14:41 | 0:14:44 | |
It does really nice things | 0:14:44 | 0:14:47 | |
-when you do a really, really straight tone, I noticed. -Yeah. | 0:14:47 | 0:14:50 | |
It does... It sounds really nice that way. | 0:14:50 | 0:14:52 | |
Miss Patricia Hammond sings her popular success, | 0:14:57 | 0:15:01 | |
How'd You Like To Spoon With Me? Vulcan record. | 0:15:01 | 0:15:04 | |
# I don't know why I am so very shy | 0:15:12 | 0:15:15 | |
# I always was demure... # | 0:15:15 | 0:15:16 | |
The technology here dictates how the song is sung. | 0:15:16 | 0:15:20 | |
# I never knew what silly lovers do | 0:15:20 | 0:15:21 | |
# No flirting... # | 0:15:21 | 0:15:22 | |
Patricia shouldn't sing too softly, as the recorder won't pick up her voice. | 0:15:22 | 0:15:26 | |
# In all my life I've never kissed a man... # | 0:15:26 | 0:15:28 | |
But not too loudly, either, | 0:15:28 | 0:15:29 | |
as that makes the recording stylus jump out of its groove. | 0:15:29 | 0:15:32 | |
# But now at last I'm going to break the ice | 0:15:32 | 0:15:34 | |
# So how'd you like to try? # | 0:15:34 | 0:15:37 | |
Some instruments work much better than others - | 0:15:37 | 0:15:39 | |
drums and double basses are too loud. | 0:15:39 | 0:15:42 | |
Violins can be a problem, | 0:15:43 | 0:15:45 | |
because their thin sound struggles to record - | 0:15:45 | 0:15:47 | |
so Aleks is playing this specially adapted violin - called a Stroh - | 0:15:47 | 0:15:52 | |
that has its own horn | 0:15:52 | 0:15:53 | |
to better project sound towards the recording machine. | 0:15:53 | 0:15:56 | |
And my piano is raised up to get the maximum volume out of it. | 0:15:56 | 0:15:59 | |
# How'd you like to be my lovey-dovey...? # | 0:15:59 | 0:16:02 | |
Now here's the science. | 0:16:02 | 0:16:04 | |
Sound through the horn creates vibrations, | 0:16:04 | 0:16:07 | |
which, via a diaphragm, activates the recording stylus | 0:16:07 | 0:16:11 | |
that in turn engraves the sound onto a wax cylinder. | 0:16:11 | 0:16:14 | |
# ..large and shady | 0:16:14 | 0:16:16 | |
# Call me little tootsy-wootsy baby... # | 0:16:16 | 0:16:18 | |
To get a good recording, you needed to keep the wax soft, | 0:16:18 | 0:16:21 | |
so early recording studios were like a sauna. | 0:16:21 | 0:16:26 | |
Plus the first wax cylinders only lasted two minutes - | 0:16:26 | 0:16:29 | |
so songs had to be short and sweet. | 0:16:29 | 0:16:31 | |
Bags of room on there. | 0:16:40 | 0:16:42 | |
It looks so simple - | 0:16:42 | 0:16:44 | |
but there's a great skill in singing well into the horn, | 0:16:44 | 0:16:47 | |
as Patricia is finding out. | 0:16:47 | 0:16:48 | |
Without anybody playing anything else, just sing through that little bit. | 0:16:48 | 0:16:52 | |
# How'd you like to be my lovey-dove...? # | 0:16:52 | 0:16:55 | |
-Oh, yes... -Yeah? -I really detect how it really... | 0:16:55 | 0:16:57 | |
-Yeah. -You almost feel the danger as it comes back at you. | 0:16:57 | 0:17:01 | |
-Yes, you'll know either to moderate it or to draw back slightly... -Yes. | 0:17:01 | 0:17:04 | |
..or to turn slightly. | 0:17:04 | 0:17:05 | |
-Yeah, and you can also get more intimate, as well. -Yes. | 0:17:05 | 0:17:08 | |
That was the art, because you're getting closer - | 0:17:08 | 0:17:10 | |
cos when we play it back you'll see there was a lot more presence... | 0:17:10 | 0:17:13 | |
-Yes! -..in the one you just did than the one we did before. -Yeah. | 0:17:13 | 0:17:16 | |
And whether it is 1906 or today, | 0:17:18 | 0:17:20 | |
nothing beats the magical moment of instant playback. | 0:17:20 | 0:17:23 | |
'Miss Patricia Hammond sings her popular success, | 0:17:25 | 0:17:29 | |
'How'd You Like To Spoon With Me? Vulcan record.' | 0:17:29 | 0:17:33 | |
# I don't know why I am so very shy | 0:17:40 | 0:17:43 | |
# I always was demure... # | 0:17:43 | 0:17:46 | |
From the very beginning, | 0:17:46 | 0:17:48 | |
it seems technology was shaping the sounds of the songs we heard. | 0:17:48 | 0:17:52 | |
That's like listening to the great-great-great-grandmother | 0:17:54 | 0:17:58 | |
you never had. Who was a singer. | 0:17:58 | 0:18:00 | |
-Well, you have now! -That's extraordinary. | 0:18:00 | 0:18:03 | |
We'd have sold a million of those in the Edwardian period. | 0:18:03 | 0:18:06 | |
# How'd you like to spoon with me...? # | 0:18:07 | 0:18:09 | |
The recording machine now went out into the world | 0:18:09 | 0:18:12 | |
to capture sound wherever it could. | 0:18:12 | 0:18:14 | |
For the first time, | 0:18:14 | 0:18:15 | |
an address of the President of the United States... | 0:18:15 | 0:18:18 | |
a Navajo Indian... | 0:18:18 | 0:18:20 | |
a school in the Midwest... | 0:18:20 | 0:18:23 | |
# I don't know why I am so very shy... # | 0:18:23 | 0:18:26 | |
There were not only sentimental ballads, | 0:18:26 | 0:18:28 | |
but also music hall and vaudeville hits, | 0:18:28 | 0:18:30 | |
comic songs and opera. | 0:18:30 | 0:18:32 | |
All these recordings were now being bought in their thousands. | 0:18:32 | 0:18:35 | |
There is a treasure trove of these songs right in the heart of London. | 0:18:41 | 0:18:45 | |
# I never winked my eye... # | 0:18:45 | 0:18:49 | |
In the basement of the British Library | 0:18:49 | 0:18:51 | |
are 7,000 precious and valuable wax cylinders, | 0:18:51 | 0:18:54 | |
acquired and preserved for the nation. | 0:18:54 | 0:18:57 | |
Here you can find the top ten | 0:18:57 | 0:18:59 | |
that entertained the Edwardian public. | 0:18:59 | 0:19:01 | |
And, voila - here's a box of delights | 0:19:03 | 0:19:07 | |
that the curators at the Library's Sound Archives | 0:19:07 | 0:19:09 | |
have kindly selected for us. | 0:19:09 | 0:19:12 | |
Wow. | 0:19:12 | 0:19:13 | |
Look at this! | 0:19:13 | 0:19:14 | |
Treasure indeed. | 0:19:14 | 0:19:16 | |
This is an Edison cylinder known as a Blue Amberol. | 0:19:16 | 0:19:21 | |
Absolutely beautiful. | 0:19:21 | 0:19:23 | |
But, of course, it was pop songs of the day | 0:19:23 | 0:19:25 | |
that people wanted to hear in their homes. | 0:19:25 | 0:19:27 | |
It was the music hall artists, particularly. | 0:19:27 | 0:19:30 | |
Billy Williams, for instance, | 0:19:30 | 0:19:32 | |
singing When Father Papered The Parlour. | 0:19:32 | 0:19:35 | |
# When Father papered the parlour | 0:19:35 | 0:19:37 | |
# You couldn't see Pa for paste | 0:19:37 | 0:19:38 | |
# Dabbing it here and dabbing it there | 0:19:38 | 0:19:40 | |
# There was paste and paper everywhere | 0:19:40 | 0:19:42 | |
# Mother was stuck to the ceiling | 0:19:42 | 0:19:45 | |
# And the kids were stuck to the floor | 0:19:45 | 0:19:47 | |
# You never saw such a blooming family so stuck up before. # | 0:19:47 | 0:19:50 | |
Florrie Forde, one of the greatest of the music hall artistes, | 0:19:50 | 0:19:53 | |
singing Down At The Old Bull And Bush - | 0:19:53 | 0:19:56 | |
and that's actually celebrating a pub in North London, | 0:19:56 | 0:19:59 | |
but it's to a kind of German beat - that oompah-pah beat. | 0:19:59 | 0:20:03 | |
# Come and make eyes at me | 0:20:03 | 0:20:04 | |
# Down at the Old Bull and Bush... # | 0:20:04 | 0:20:06 | |
# Come, come, drink some port wine with me | 0:20:08 | 0:20:11 | |
# Down at the Old Bull and Bush... # | 0:20:11 | 0:20:15 | |
These cylinders were the way that the song | 0:20:15 | 0:20:17 | |
and the sound of song found its way into people's homes. | 0:20:17 | 0:20:21 | |
# Just let me hold your hand, dear | 0:20:21 | 0:20:24 | |
# Do, do... # | 0:20:24 | 0:20:26 | |
But in the first decade of the 20th century | 0:20:26 | 0:20:28 | |
there emerged a rival to the cylinder | 0:20:28 | 0:20:31 | |
in the affections of the new listening public. | 0:20:31 | 0:20:33 | |
And there are over 250,000 examples of this competing medium | 0:20:33 | 0:20:38 | |
in the vaults of the Library. | 0:20:38 | 0:20:40 | |
And here it is. | 0:20:42 | 0:20:43 | |
Much more recognisable. | 0:20:43 | 0:20:45 | |
The rival format to the Edison cylinder - | 0:20:45 | 0:20:49 | |
the Gramophone disc. | 0:20:49 | 0:20:51 | |
Now, this is the same number, by Billy Williams, | 0:20:51 | 0:20:53 | |
When Father Papered The Parlour - | 0:20:53 | 0:20:55 | |
equally precious recording, it has to be said. | 0:20:55 | 0:20:57 | |
And these discs were made out of a natural resin called shellac. | 0:20:57 | 0:21:02 | |
And they span at 78rpm - 78 revolutions per minute. | 0:21:02 | 0:21:06 | |
So, the early 78s were often known as shellacs. | 0:21:06 | 0:21:09 | |
Much cheaper and easier to produce than the cylinder was, | 0:21:09 | 0:21:14 | |
and much more durable. | 0:21:14 | 0:21:16 | |
MUSIC: When Father Papered The Parlour | 0:21:16 | 0:21:18 | |
The disc was pioneered by a German emigre | 0:21:18 | 0:21:21 | |
to the United States, Emile Berliner, | 0:21:21 | 0:21:24 | |
who, in partnership with businessman Eldridge Johnson, | 0:21:24 | 0:21:26 | |
founded the Victor Talking Machine Company in 1901. | 0:21:26 | 0:21:30 | |
In their factory in Camden, New Jersey, | 0:21:30 | 0:21:33 | |
Victor mass-produced discs and the record players they played on, | 0:21:33 | 0:21:36 | |
which they called gramophones. | 0:21:36 | 0:21:39 | |
The company bought up the top singers of the day | 0:21:39 | 0:21:42 | |
and brilliantly marketed their products using | 0:21:42 | 0:21:44 | |
the image of Nipper the Dog and the slogan "His Master's Voice" - | 0:21:44 | 0:21:48 | |
HMV. | 0:21:48 | 0:21:49 | |
# ..Paddy Leary from a spot in Tipperary | 0:21:54 | 0:21:57 | |
# The hearts of all the girls I am a thorn... # | 0:21:57 | 0:21:58 | |
Records spinning on gramophones at 78 revolutions per minute | 0:21:58 | 0:22:02 | |
now competed with cylinders playing on phonographs | 0:22:02 | 0:22:05 | |
in a format war like that later between vinyl and CD. | 0:22:05 | 0:22:09 | |
# ..in the morning... # | 0:22:09 | 0:22:11 | |
Now music lasted longer on disc - with songs on both sides - | 0:22:11 | 0:22:14 | |
and the gramophone was just so much easier to operate. | 0:22:14 | 0:22:18 | |
So, eventually, the disc won out. | 0:22:18 | 0:22:21 | |
In 1912, Thomas Edison bowed to the inevitable. | 0:22:24 | 0:22:27 | |
He signalled the beginning of the end of his beloved cylinder player | 0:22:27 | 0:22:30 | |
by announcing the Edison Company's first machine to spin 78rpm discs. | 0:22:30 | 0:22:35 | |
To sell this, the Edison Company embarked upon a celebrated | 0:22:37 | 0:22:40 | |
sound experiment, and it gives us a fascinating | 0:22:40 | 0:22:43 | |
insight into the collisions of old and new at this time. | 0:22:43 | 0:22:47 | |
Audiences were invited, and came in their thousands, | 0:22:47 | 0:22:50 | |
to witness the Test Of Tone Re-creation | 0:22:50 | 0:22:54 | |
which was being staged in venues large | 0:22:54 | 0:22:57 | |
and small right across America. | 0:22:57 | 0:22:59 | |
On one of these evenings, a curious audience waited expectantly. | 0:22:59 | 0:23:02 | |
APPLAUSE | 0:23:02 | 0:23:04 | |
Onto the stage came the celebrated soprano Maggie Teyte. | 0:23:04 | 0:23:08 | |
# Believe me | 0:23:09 | 0:23:12 | |
# If all those endearing young charms... # | 0:23:12 | 0:23:15 | |
She began singing a famous melody | 0:23:15 | 0:23:18 | |
that you might also recognise as the fiddle intro | 0:23:18 | 0:23:20 | |
to Come On Eileen by Dexys Midnight Runners. | 0:23:20 | 0:23:23 | |
# Were to change by tomorrow and flee in my arms | 0:23:23 | 0:23:30 | |
# Like... # | 0:23:30 | 0:23:31 | |
This song was the popular folk tune | 0:23:31 | 0:23:33 | |
Believe Me, If All Those Endearing Young Charms. | 0:23:33 | 0:23:36 | |
# Thou wouldst still... # | 0:23:38 | 0:23:40 | |
Then, suddenly, the lights went down. | 0:23:40 | 0:23:43 | |
# ..this moment thou art... # | 0:23:43 | 0:23:45 | |
Just as quickly, the lights went up again | 0:23:45 | 0:23:47 | |
as the song continued to ring out. | 0:23:47 | 0:23:49 | |
# ..fade as it will... # | 0:23:49 | 0:23:51 | |
But now on stage with Miss Teyte was this - | 0:23:51 | 0:23:54 | |
the new Edison disc phonograph. | 0:23:54 | 0:23:56 | |
# ..ruin each wish of my heart... # | 0:23:56 | 0:24:00 | |
But the sublime Ms Teyte was mute - | 0:24:00 | 0:24:02 | |
no words came from those melodious lips. | 0:24:02 | 0:24:05 | |
So where was this music coming from? | 0:24:05 | 0:24:08 | |
A record on the turntable was playing - | 0:24:08 | 0:24:11 | |
the state-of-the-art diamond stylus reading the disc. | 0:24:11 | 0:24:15 | |
Who in the audience could tell the difference | 0:24:15 | 0:24:18 | |
between the real thing and the recording? | 0:24:18 | 0:24:21 | |
At first there was stunned silence, | 0:24:21 | 0:24:24 | |
and then, when they realised the trick that had been played on them, | 0:24:24 | 0:24:27 | |
they burst into spontaneous and generous applause. | 0:24:27 | 0:24:31 | |
APPLAUSE # ..and flee in my arms... # | 0:24:31 | 0:24:35 | |
The Tone Test proved just how far the quality of sound recording | 0:24:35 | 0:24:39 | |
had advanced by the eve of the First World War. | 0:24:39 | 0:24:42 | |
Recorded music was now so good | 0:24:42 | 0:24:44 | |
that Edison could with some justification claim | 0:24:44 | 0:24:47 | |
that the quality of the living voice and the re-created voice | 0:24:47 | 0:24:51 | |
were identical. | 0:24:51 | 0:24:52 | |
But I think the Tone Tests went deeper. | 0:24:52 | 0:24:55 | |
Before recorded sound, all music was live. | 0:24:55 | 0:24:59 | |
The important rituals of our lives happened with music there - | 0:24:59 | 0:25:04 | |
births, marriages, funerals. | 0:25:04 | 0:25:06 | |
We laboured to working songs, our entertainment was live, | 0:25:06 | 0:25:10 | |
be it in the bandstand or the music hall, | 0:25:10 | 0:25:13 | |
the parlour or the concert hall. | 0:25:13 | 0:25:15 | |
But these experiences were fleeting, | 0:25:16 | 0:25:20 | |
lingering only in the memory, no matter how sweetly. | 0:25:20 | 0:25:23 | |
# I had a lovely lady friend who lived next door to me... # | 0:25:23 | 0:25:26 | |
Music now had a new kind of presence and permanence in our lives, | 0:25:26 | 0:25:31 | |
that writer and critic Greg Milner considers profound. | 0:25:31 | 0:25:34 | |
What it was telling people was that recordings had reached this point, | 0:25:35 | 0:25:40 | |
very quickly, that a record wasn't a recording of music, necessarily - | 0:25:40 | 0:25:45 | |
it WAS music, you know? | 0:25:45 | 0:25:46 | |
It wasn't that this was something that you took music | 0:25:46 | 0:25:49 | |
and put it on - this was music itself, | 0:25:49 | 0:25:51 | |
which is a very powerful message, I mean, it's almost like... | 0:25:51 | 0:25:54 | |
You know, it's... | 0:25:54 | 0:25:56 | |
Recordings weren't going to sound like life, necessarily, | 0:25:56 | 0:25:58 | |
life was going to sound like recording. | 0:25:58 | 0:26:00 | |
Imagine you're sitting alone in your typical Edwardian parlour. | 0:26:04 | 0:26:07 | |
-It's evening. -SOPRANO SINGS | 0:26:07 | 0:26:09 | |
You might be having a nice leisurely read before bedtime - | 0:26:09 | 0:26:13 | |
reaching out for one last sip of one last gin and tonic. | 0:26:13 | 0:26:16 | |
But now you had company, | 0:26:18 | 0:26:20 | |
in the shape of the machine that was leading the listening revolution | 0:26:20 | 0:26:23 | |
that was transforming your home life. | 0:26:23 | 0:26:26 | |
This is the wonderfully titled G&T Bijou Grand - | 0:26:29 | 0:26:33 | |
G&T for Gramophone & Typewriter company. | 0:26:33 | 0:26:36 | |
And the horn is actually inside. | 0:26:36 | 0:26:40 | |
VOLUME INCREASES | 0:26:40 | 0:26:41 | |
So it's disguised as a rather beautiful piece of furniture. | 0:26:41 | 0:26:45 | |
No enormous horns erupting out the top to frighten the ladies. | 0:26:45 | 0:26:49 | |
You can actually invite people round, now, for musical evenings. | 0:26:49 | 0:26:53 | |
This would be the centre of attention. | 0:26:53 | 0:26:56 | |
Or you could just sit and listen again and again | 0:26:56 | 0:27:00 | |
to your own favourite tunes. | 0:27:00 | 0:27:02 | |
MUSIC: The Liberty Bell March by John Philip Sousa | 0:27:02 | 0:27:05 | |
All this pleasure from a rotating turntable | 0:27:05 | 0:27:07 | |
WAS the shock of the new - | 0:27:07 | 0:27:09 | |
and seen as a threat to live performance. | 0:27:09 | 0:27:12 | |
The celebrated composer of American marching music John Philip Sousa | 0:27:14 | 0:27:18 | |
wrote passionately about what he saw as "the menace of mechanical music". | 0:27:18 | 0:27:22 | |
And, in 1913, French composer Claude Debussy worriedly asked, | 0:27:24 | 0:27:29 | |
"Should we fear this domestication of sound, | 0:27:29 | 0:27:31 | |
"this magic preserved in a disc that anyone can awaken at will?" | 0:27:31 | 0:27:35 | |
But, despite these concerns, | 0:27:37 | 0:27:39 | |
the record player instantly had enormous appeal. | 0:27:39 | 0:27:42 | |
MUSIC: Sweet Georgia Brown | 0:27:42 | 0:27:44 | |
You could gather around for an indoor campfire moment... | 0:27:44 | 0:27:48 | |
..or take a portable gramophone to war, | 0:27:50 | 0:27:52 | |
to help bear the unbearable. | 0:27:52 | 0:27:55 | |
And live music did endure - helped by recording. | 0:27:55 | 0:28:00 | |
Look at this snapshot from rural America - | 0:28:00 | 0:28:02 | |
in the foreground is a phonograph, cylinders on the ground. | 0:28:02 | 0:28:06 | |
But, behind it, see the man with the fiddle | 0:28:06 | 0:28:09 | |
looking defiantly at the camera - | 0:28:09 | 0:28:11 | |
proud of his playing, I think. | 0:28:11 | 0:28:13 | |
A recording engineer in the field, or the studio, | 0:28:13 | 0:28:16 | |
could capture his music and make it more widely available - | 0:28:16 | 0:28:19 | |
and that would shape the history of music itself. | 0:28:19 | 0:28:23 | |
Now, people who weren't hearing music as much because, let's say, | 0:28:24 | 0:28:26 | |
they couldn't afford it, who all of a sudden had access to it, | 0:28:26 | 0:28:29 | |
different types of traditions could be spread around, | 0:28:29 | 0:28:31 | |
and all of a sudden music was something... | 0:28:31 | 0:28:33 | |
it's almost like it added another dimension, | 0:28:33 | 0:28:35 | |
music was in 2-D before, now it's like in three dimensions. | 0:28:35 | 0:28:39 | |
That's the way I like to think of it. | 0:28:39 | 0:28:41 | |
# Born up on the mountain... # | 0:28:41 | 0:28:43 | |
One kind of music in this new 3-D of sound | 0:28:44 | 0:28:47 | |
emerged here on Beale Street in Memphis | 0:28:47 | 0:28:49 | |
in the first decades of the 20th century. | 0:28:49 | 0:28:52 | |
From plantations and cotton fields, evolving out of spirituals, | 0:28:52 | 0:28:55 | |
work songs and field hollers, this was the blues. | 0:28:55 | 0:28:58 | |
Really just three chords - | 0:28:59 | 0:29:01 | |
this one... | 0:29:01 | 0:29:03 | |
this one... | 0:29:03 | 0:29:05 | |
..and that one. | 0:29:06 | 0:29:07 | |
And the effect you get is this... | 0:29:07 | 0:29:09 | |
HE PLAYS BLUES PROGRESSION | 0:29:09 | 0:29:11 | |
It was here in Memphis where the classic 12-bar blues | 0:29:14 | 0:29:17 | |
was devised by the composer WC Handy. | 0:29:17 | 0:29:19 | |
And Handy was the first person to write the blues down - | 0:29:20 | 0:29:23 | |
notate them on the page. | 0:29:23 | 0:29:25 | |
But it was the recording of his songs, like Memphis Blues, | 0:29:27 | 0:29:32 | |
that allowed the music to thrive by making it available | 0:29:32 | 0:29:34 | |
to those who could neither afford nor read sheet music. | 0:29:34 | 0:29:38 | |
Everything about blues had to be heard in order to be copied. | 0:29:41 | 0:29:45 | |
If you wanted to be a blues player, | 0:29:45 | 0:29:47 | |
you had to be able to hear other people playing it, | 0:29:47 | 0:29:49 | |
understand how the thing worked. | 0:29:49 | 0:29:51 | |
That is where recording became so crucial - | 0:29:51 | 0:29:54 | |
because people now could hear the blues | 0:29:54 | 0:29:57 | |
and do their own thing with it. | 0:29:57 | 0:29:58 | |
Recording companies knew this - they had a massive new market, | 0:29:58 | 0:30:02 | |
and so, before very long, | 0:30:02 | 0:30:04 | |
they started creating their own blues recording greats. | 0:30:04 | 0:30:07 | |
MUSIC: Crazy Blues by Mamie Smith | 0:30:07 | 0:30:10 | |
In 1920, what's considered the first blues record was recorded - | 0:30:10 | 0:30:14 | |
Crazy Blues by Mamie Smith. | 0:30:14 | 0:30:17 | |
# I can't sleep at night | 0:30:17 | 0:30:22 | |
# I can't eat a bite... # | 0:30:22 | 0:30:26 | |
It was released by OKeh, who made what were called "race records", | 0:30:26 | 0:30:30 | |
targeted at African-American consumers. | 0:30:30 | 0:30:32 | |
Selling for only 20 cents, Crazy Blues was a million seller - | 0:30:34 | 0:30:38 | |
proving that disc buying wasn't just for the white and well-heeled. | 0:30:38 | 0:30:43 | |
# I hate to see... # | 0:30:43 | 0:30:45 | |
Then in 1923 the singer who would be crowned Empress of the Blues | 0:30:45 | 0:30:49 | |
signed to Columbia Records in New York. | 0:30:49 | 0:30:52 | |
She was the extraordinary Bessie Smith, | 0:30:54 | 0:30:57 | |
and her recordings would make the blues an American - | 0:30:57 | 0:31:00 | |
indeed, a global - phenomenon, and an art form to be cherished. | 0:31:00 | 0:31:04 | |
# ..sun go down. # | 0:31:04 | 0:31:06 | |
On the 14th of January 1925 | 0:31:07 | 0:31:10 | |
she went into Columbia Studios on Columbus Circle | 0:31:10 | 0:31:13 | |
and recorded another WC Handy classic, St Louis Blues, | 0:31:13 | 0:31:17 | |
accompanied by a young cornet player called Louis Armstrong. | 0:31:17 | 0:31:21 | |
LILTING CORNET PROGRESSION | 0:31:21 | 0:31:23 | |
A performance of the song was captured on film in 1929 | 0:31:26 | 0:31:29 | |
at the height of Bessie's fame. | 0:31:29 | 0:31:32 | |
# ..like I feel today... # | 0:31:32 | 0:31:35 | |
Just listen to the sound of her song. | 0:31:35 | 0:31:37 | |
# Feelin' tomorrow... # | 0:31:40 | 0:31:42 | |
She sang what's called gut-bucket blues - | 0:31:42 | 0:31:46 | |
with a powerful and strong delivery | 0:31:46 | 0:31:47 | |
shaped by years of performing in huge halls without amplification. | 0:31:47 | 0:31:51 | |
# I'll pack my trunk and make my get away... # | 0:31:51 | 0:31:55 | |
The slow tempo with that preaching sound to her voice | 0:31:55 | 0:31:58 | |
suggests the call and response of gospel music. | 0:31:58 | 0:32:02 | |
Here, the celestial choir of backing singers | 0:32:02 | 0:32:04 | |
take the place of Armstrong's cornet. | 0:32:04 | 0:32:07 | |
# ..rock in the sea | 0:32:07 | 0:32:10 | |
# Oh, sister... # | 0:32:10 | 0:32:13 | |
We're in a nightclub, but we could so easily be in church. | 0:32:13 | 0:32:18 | |
# ..rock in the sea | 0:32:18 | 0:32:20 | |
# Yes, my sister... # | 0:32:20 | 0:32:24 | |
Bessie bends and stretches each note for maximum effect. | 0:32:24 | 0:32:28 | |
# Or else he wouldn't have gone so far from me. # | 0:32:28 | 0:32:35 | |
The genius of her performance was inspiration for other new music. | 0:32:35 | 0:32:41 | |
If, as the song goes, blues had a baby and called it rock'n'roll, | 0:32:41 | 0:32:45 | |
then its big brother was surely jazz. | 0:32:45 | 0:32:49 | |
And it was Bessie's playing partner who was jazz's greatest innovator | 0:32:49 | 0:32:53 | |
at this time - earning the accolade Master of Modernism | 0:32:53 | 0:32:57 | |
and creator of his own song style. | 0:32:57 | 0:33:00 | |
MUSIC: Heebie Jeebies by Louis Armstrong and his Hot Five | 0:33:00 | 0:33:02 | |
Louis Armstrong first began singing in church and barbershop quartets - | 0:33:02 | 0:33:06 | |
later vaudeville and cabaret halls. | 0:33:06 | 0:33:09 | |
In 1926 he recorded a song that, | 0:33:09 | 0:33:11 | |
due to the disciplines of time in the studio, | 0:33:11 | 0:33:14 | |
had to be just right on the night. | 0:33:14 | 0:33:16 | |
# Say, I've got the heebies | 0:33:17 | 0:33:19 | |
# I mean the jeebies | 0:33:19 | 0:33:20 | |
# Talking about... # | 0:33:20 | 0:33:22 | |
In fact Heebie Jeebies turned out to be jazz perfection, | 0:33:22 | 0:33:25 | |
and what's said to have happened during the recording | 0:33:25 | 0:33:27 | |
has passed into popular music legend. | 0:33:27 | 0:33:31 | |
Armstrong began singing his vocal section, but then accidentally | 0:33:31 | 0:33:35 | |
dropped the paper that his lyrics were written on. | 0:33:35 | 0:33:38 | |
But, not wanting to ruin the wax recording, he soldiered on. | 0:33:38 | 0:33:43 | |
He sang without words. | 0:33:43 | 0:33:46 | |
That African-American tradition of scat singing | 0:33:46 | 0:33:50 | |
that uses the human voice as an instrument. | 0:33:50 | 0:33:54 | |
A chance accident in the studio had led to an innovation | 0:33:54 | 0:33:57 | |
that made his name as a singer - | 0:33:57 | 0:33:59 | |
brought a lot of humour to the song, too, and made it a smash hit. | 0:33:59 | 0:34:03 | |
HE SCATS | 0:34:03 | 0:34:07 | |
This was the essence of jazz - improvisation and spontaneity - | 0:34:07 | 0:34:13 | |
caught on record at the very moment that it happened. | 0:34:13 | 0:34:17 | |
Gary Giddins is Armstrong's biographer. | 0:34:17 | 0:34:20 | |
It's not just that he is using nonsense syllables - | 0:34:20 | 0:34:23 | |
it's that he is improvising a solo, | 0:34:23 | 0:34:25 | |
that if you transcribed it for his trumpet | 0:34:25 | 0:34:27 | |
-would be just as brilliant as anything else he recorded. -Yeah. | 0:34:27 | 0:34:30 | |
-That is his solo, that is his improvisation. -Yeah. | 0:34:30 | 0:34:34 | |
And part of... The gravel in his voice | 0:34:34 | 0:34:36 | |
is one of the things that puts it over. | 0:34:36 | 0:34:39 | |
I think it was Earl Hinds | 0:34:39 | 0:34:41 | |
who said that for months after that record came out | 0:34:41 | 0:34:44 | |
musicians were sticking their heads out the window every time it rained | 0:34:44 | 0:34:47 | |
trying to get a cold so they could sound like Louis Armstrong. | 0:34:47 | 0:34:50 | |
HORN SOLO | 0:34:50 | 0:34:53 | |
By the time that Armstrong recorded Heebie Jeebies, | 0:34:57 | 0:35:00 | |
you didn't have to buy his records | 0:35:00 | 0:35:02 | |
to sit at home late at night enjoying his music. | 0:35:02 | 0:35:05 | |
JAZZ CORNET PLAYS | 0:35:06 | 0:35:09 | |
Louis was all over the airwaves, from New York to Los Angeles, | 0:35:09 | 0:35:12 | |
spreading the gospel of jazz. | 0:35:12 | 0:35:14 | |
And all this live and free in your front room. | 0:35:14 | 0:35:17 | |
An entirely new way of listening had come along - radio - | 0:35:21 | 0:35:25 | |
the next important stage in the sonic revolution | 0:35:25 | 0:35:28 | |
that was shaping the sound of song. | 0:35:28 | 0:35:30 | |
Imagine having this magnificent machine in your front room | 0:35:33 | 0:35:37 | |
for the first time. | 0:35:37 | 0:35:39 | |
And this radio music box came to rival and, indeed, | 0:35:39 | 0:35:42 | |
threaten the gramophone as the medium for enjoying popular song - | 0:35:42 | 0:35:46 | |
for the simple reason that you could go round that dial | 0:35:46 | 0:35:49 | |
and choose exactly the music to fit your mood. | 0:35:49 | 0:35:52 | |
Radio at first was a novel and exotic experience - | 0:35:56 | 0:36:00 | |
the early sets fantastic-looking creations. | 0:36:00 | 0:36:03 | |
Following radio's introduction after the First World War | 0:36:05 | 0:36:08 | |
there was a broadcasting boom. | 0:36:08 | 0:36:10 | |
On both sides of the Atlantic, | 0:36:10 | 0:36:12 | |
millions were buying these wirelesses. | 0:36:12 | 0:36:14 | |
And what they really wanted to hear were songs. | 0:36:14 | 0:36:18 | |
Just as songs were the lifeblood of the recording industry, | 0:36:18 | 0:36:21 | |
so they were of those running radio during its golden age. | 0:36:21 | 0:36:25 | |
And this was just more business, and very welcome business, | 0:36:25 | 0:36:28 | |
for the habitues of Tin Pan Alley. | 0:36:28 | 0:36:31 | |
Which is where Irving Berlin re-enters our story. | 0:36:32 | 0:36:36 | |
By the coming of radio's golden age, | 0:36:36 | 0:36:38 | |
the songwriter from downtown New York had moved up in the world. | 0:36:38 | 0:36:41 | |
Irving Berlin was running his own publishing company, | 0:36:41 | 0:36:44 | |
writing for Broadway musicals and revues like the Ziegfeld Follies. | 0:36:44 | 0:36:48 | |
'Music man Irving Berlin assists at the piano.' | 0:36:48 | 0:36:52 | |
But as well as all the high jinks, | 0:36:52 | 0:36:54 | |
he was writing songs full of sadness. | 0:36:54 | 0:36:57 | |
The death of his wife after only five months of marriage | 0:36:57 | 0:37:00 | |
left Berlin a long time alone. | 0:37:00 | 0:37:02 | |
So, real heartache poured out of him at the keyboard. | 0:37:02 | 0:37:05 | |
Take, for instance, the beautiful ballad All Alone. | 0:37:07 | 0:37:10 | |
Now, there's a nice, simple melody to the hook - | 0:37:10 | 0:37:13 | |
the bit you're going to really remember, which is just... | 0:37:13 | 0:37:16 | |
HE PLAYS MELODY FROM "ALL ALONE" | 0:37:16 | 0:37:18 | |
But when you put the lyrics with it, it goes like this... | 0:37:20 | 0:37:24 | |
# Wondering how you are | 0:37:24 | 0:37:28 | |
# And where you are | 0:37:28 | 0:37:30 | |
# And if you are | 0:37:30 | 0:37:32 | |
# All alone. # | 0:37:32 | 0:37:36 | |
The sting's in the tail. | 0:37:36 | 0:37:38 | |
"Are you all alone, or have you found somebody else?" | 0:37:38 | 0:37:42 | |
It's almost like he's inventing the idea of the torch song | 0:37:42 | 0:37:46 | |
for a keening male singer. | 0:37:46 | 0:37:48 | |
# Just for a moment you were mine | 0:37:48 | 0:37:52 | |
# And then... # | 0:37:52 | 0:37:54 | |
The powerful Irish tenor John McCormack | 0:37:54 | 0:37:57 | |
made the best-loved version of All Alone. | 0:37:57 | 0:37:59 | |
# I long to hold you in my arms again... # | 0:37:59 | 0:38:03 | |
Thanks to radio technology that widened sonic frequencies | 0:38:03 | 0:38:06 | |
and allowed extra amplification, | 0:38:06 | 0:38:07 | |
listeners could hear the great man with a better sound quality | 0:38:07 | 0:38:11 | |
that was loud and clear. | 0:38:11 | 0:38:13 | |
Indeed, they came to expect it. | 0:38:13 | 0:38:16 | |
# There is no-one else but you... # | 0:38:16 | 0:38:20 | |
And this was a challenge to other entertainment industries - | 0:38:20 | 0:38:23 | |
either embrace the sonic possibilities, | 0:38:23 | 0:38:25 | |
or suffer the consequences. | 0:38:25 | 0:38:28 | |
And silent film, for one, got the message. | 0:38:28 | 0:38:32 | |
In September 1928, | 0:38:32 | 0:38:33 | |
movie fans gathered here at the Piccadilly Theatre in London - | 0:38:33 | 0:38:36 | |
then a West End cinema - for the premiere of a film | 0:38:36 | 0:38:39 | |
that had already caused a sensation in New York. | 0:38:39 | 0:38:42 | |
They were eyewitnesses to cinema being the next entertainment medium | 0:38:42 | 0:38:46 | |
to be revolutionised by recorded sound, | 0:38:46 | 0:38:49 | |
with songs as the agents of change. | 0:38:49 | 0:38:51 | |
The film was The Jazz Singer, a version of a Broadway show | 0:38:59 | 0:39:02 | |
made by Warner Brothers in Hollywood. | 0:39:02 | 0:39:05 | |
It featured the biggest vaudeville star of the 1920s - | 0:39:05 | 0:39:08 | |
Al Jolson. | 0:39:08 | 0:39:09 | |
And what delighted and enchanted cinemagoers that evening | 0:39:09 | 0:39:12 | |
was Jolson singing this. | 0:39:12 | 0:39:14 | |
# Blue skies | 0:39:14 | 0:39:16 | |
# Smiling at me | 0:39:16 | 0:39:19 | |
# Nothing but blue skies | 0:39:19 | 0:39:22 | |
# Do I see | 0:39:22 | 0:39:23 | |
# Ho-toh-toh | 0:39:23 | 0:39:25 | |
# Bluebirds... # | 0:39:25 | 0:39:26 | |
The song was Blue Skies, written by Irving Berlin. | 0:39:26 | 0:39:30 | |
# Nothing but little bluebirds | 0:39:30 | 0:39:32 | |
# All day long... # | 0:39:32 | 0:39:34 | |
After his own blue period, | 0:39:35 | 0:39:37 | |
Berlin's mood in Blue Skies is jubilant. | 0:39:37 | 0:39:40 | |
Perhaps little wonder, given that he had just fallen in love | 0:39:40 | 0:39:43 | |
with the woman who would become his second wife. | 0:39:43 | 0:39:45 | |
# Blue days, days, days | 0:39:45 | 0:39:47 | |
# All of them gone... # | 0:39:47 | 0:39:49 | |
And this happiness expressed in song | 0:39:49 | 0:39:51 | |
seemed to reflect the optimism of an entire nation. | 0:39:51 | 0:39:54 | |
Blue Skies is another one of those songs - | 0:39:54 | 0:39:57 | |
it's almost a more sophisticated version of Alexander | 0:39:57 | 0:40:00 | |
in that it's very optimistic. | 0:40:00 | 0:40:03 | |
It totally captures the period when Americans think | 0:40:03 | 0:40:08 | |
that...the world is changing and it's all for the good. | 0:40:08 | 0:40:13 | |
Because this is still two years before the Depression, | 0:40:13 | 0:40:18 | |
before the stock market crashes, and what's going on in the world? | 0:40:18 | 0:40:21 | |
Lindbergh flies the Atlantic. | 0:40:21 | 0:40:25 | |
Babe Ruth hits 60 home runs. | 0:40:25 | 0:40:27 | |
Uh...Mickey Mouse. | 0:40:27 | 0:40:29 | |
# Bluebirds, singing a song | 0:40:29 | 0:40:32 | |
# Nothing but little bluebirds all day long... # | 0:40:32 | 0:40:35 | |
To see Al Jolson, but to actually hear him sing, | 0:40:35 | 0:40:40 | |
that was an extraordinary experience | 0:40:40 | 0:40:42 | |
for audiences that had grown up with silent film. | 0:40:42 | 0:40:44 | |
It was a kind of magic. | 0:40:44 | 0:40:46 | |
Never before had picture and sound synchronised so perfectly together. | 0:40:46 | 0:40:51 | |
Eyewitnesses reported that at the end, | 0:40:51 | 0:40:53 | |
the enchanted audiences were on their feet cheering. | 0:40:53 | 0:40:57 | |
And it was the half-dozen songs | 0:40:57 | 0:40:59 | |
that made The Jazz Singer such a hit. | 0:40:59 | 0:41:01 | |
To quote Harry Warner of Warner Brothers, | 0:41:01 | 0:41:03 | |
"Who the hell wants to hear actors talk? | 0:41:03 | 0:41:06 | |
"The music - that's the big thing about this." | 0:41:06 | 0:41:09 | |
And Harry had a point. | 0:41:10 | 0:41:11 | |
Warner Brothers made millions at the box office | 0:41:11 | 0:41:14 | |
from their gamble on sound and changed cinema forever. | 0:41:14 | 0:41:17 | |
Soon, the rest of Hollywood entered the race | 0:41:17 | 0:41:19 | |
to make more of these talkies with songs. | 0:41:19 | 0:41:22 | |
Everybody quiet, please... | 0:41:22 | 0:41:24 | |
Now behind the film camera was a sound recordist. | 0:41:24 | 0:41:28 | |
This sonic revolution on set came from American Western Electric, | 0:41:28 | 0:41:31 | |
developing a 33rpm disc that could synchronise with a reel of film. | 0:41:31 | 0:41:35 | |
This sound on disc format was given the name Vitaphone. | 0:41:37 | 0:41:40 | |
# So I made up my mind | 0:41:42 | 0:41:43 | |
# That I wouldn't find | 0:41:43 | 0:41:45 | |
# The only girl that I adore... # | 0:41:45 | 0:41:47 | |
At the same time, Western Electric developed a new way | 0:41:47 | 0:41:50 | |
to capture music in the recording studio. | 0:41:50 | 0:41:52 | |
# She'll be a lady... # | 0:41:52 | 0:41:54 | |
HE SCATS | 0:41:54 | 0:41:56 | |
It was this technology that Abbey Road Studios | 0:41:59 | 0:42:02 | |
would benefit from when they opened in 1931 | 0:42:02 | 0:42:04 | |
as the first purpose-built recording complex in the world. | 0:42:04 | 0:42:08 | |
The key to what was a new way to record music here in Studio 2 | 0:42:15 | 0:42:19 | |
were these beautiful objects. | 0:42:19 | 0:42:21 | |
Their first inventor thought they were like little voices, | 0:42:25 | 0:42:28 | |
so gave them the name "microphones". | 0:42:28 | 0:42:31 | |
Mics combined with other aids for recording and playback | 0:42:35 | 0:42:38 | |
that made radio sound so good. | 0:42:38 | 0:42:41 | |
There was the valve amplifier to expand the sound | 0:42:41 | 0:42:43 | |
and new loudspeakers to transmit it. | 0:42:43 | 0:42:46 | |
Together, they created a very different feel to songs, | 0:42:47 | 0:42:50 | |
and allowed the studio to innovate and experiment. | 0:42:50 | 0:42:53 | |
The Phonograph Monthly Review pronounced the last rites | 0:42:55 | 0:42:58 | |
over old mechanical recording | 0:42:58 | 0:43:00 | |
by enthusing about the new electrical way. | 0:43:00 | 0:43:02 | |
Recordists could now place their musicians anywhere around the studio | 0:43:19 | 0:43:23 | |
to get the best sound. | 0:43:23 | 0:43:25 | |
It wasn't long before they started using more than one microphone | 0:43:25 | 0:43:28 | |
and alternating between mics to get different takes of the same song. | 0:43:28 | 0:43:33 | |
The studio became a far more sophisticated place, | 0:43:33 | 0:43:36 | |
with much greater experimentation with sound. | 0:43:36 | 0:43:40 | |
But with these new skills | 0:43:40 | 0:43:41 | |
and rising expectations about the quality of recorded sound | 0:43:41 | 0:43:46 | |
came new demands on musicians and recordists. | 0:43:46 | 0:43:50 | |
Everybody had to raise their game. | 0:43:50 | 0:43:52 | |
One of the first to record electrically | 0:43:54 | 0:43:56 | |
was singer Bessie Smith, | 0:43:56 | 0:43:58 | |
on this recording of Yellowdog Blues. | 0:43:58 | 0:44:00 | |
MUSIC: Yellowdog Blues by Bessie Smith | 0:44:00 | 0:44:03 | |
Played back on this, the first record player | 0:44:06 | 0:44:08 | |
to be compatible with electrical recordings, | 0:44:08 | 0:44:11 | |
it's the sheer power of her voice that grabs your attention. | 0:44:11 | 0:44:14 | |
And it gave something extra to the listening experience. | 0:44:15 | 0:44:20 | |
# Ever since Miss Susie Johnson | 0:44:20 | 0:44:23 | |
# Lost her jockey Lee | 0:44:23 | 0:44:25 | |
# There's been much excitement | 0:44:25 | 0:44:28 | |
# And more to be... # | 0:44:28 | 0:44:30 | |
Well, the first thing you notice is the new loudness - | 0:44:30 | 0:44:33 | |
this is really pumping out some volume. | 0:44:33 | 0:44:36 | |
You could fill a room with this sound | 0:44:36 | 0:44:38 | |
and, indeed, annoy the neighbours simply by opening the windows. | 0:44:38 | 0:44:41 | |
But more than that, you like a bit of bass with your music, | 0:44:41 | 0:44:45 | |
you've got it here. | 0:44:45 | 0:44:46 | |
A machine like this actually broadened the frequencies | 0:44:46 | 0:44:50 | |
of the music that the listener could hear. | 0:44:50 | 0:44:52 | |
# Cablegram goes off in inquiry | 0:44:52 | 0:44:57 | |
# Telegram goes off... # | 0:44:57 | 0:44:59 | |
What the microphone also encouraged was a new style of singing - | 0:44:59 | 0:45:03 | |
first dismissed as a soft and over-emotional warbling, | 0:45:03 | 0:45:07 | |
it was given the name crooning. | 0:45:07 | 0:45:09 | |
To understand this, I've come here | 0:45:11 | 0:45:13 | |
to the gorgeous Art Deco Radio Theatre in Broadcasting House | 0:45:13 | 0:45:17 | |
to hear the classic Ray Noble number | 0:45:17 | 0:45:20 | |
The Very Thought Of You. | 0:45:20 | 0:45:21 | |
Now, before he had a microphone, | 0:45:21 | 0:45:23 | |
the only way a singer could expect to get their voice up there | 0:45:23 | 0:45:26 | |
into the cheap seats behind the balcony | 0:45:26 | 0:45:28 | |
was with a megaphone, | 0:45:28 | 0:45:30 | |
which meant that he had to sing something like this. | 0:45:30 | 0:45:33 | |
Let me introduce to you our singer, Matt Ford. | 0:45:33 | 0:45:35 | |
# The very thought of you | 0:45:35 | 0:45:38 | |
# And I forget to do | 0:45:38 | 0:45:40 | |
# The little ordinary things | 0:45:40 | 0:45:42 | |
# That everyone ought to do | 0:45:42 | 0:45:45 | |
# I'm living in a kind... # | 0:45:45 | 0:45:46 | |
Now let's use the mic. | 0:45:46 | 0:45:48 | |
And, as ever, we're true to the times - | 0:45:48 | 0:45:50 | |
this is a Coles 4038 ribbon mic from the 1930s. | 0:45:50 | 0:45:54 | |
Prepare yourself for proper crooning. | 0:45:54 | 0:45:57 | |
# The very thought of you | 0:46:00 | 0:46:04 | |
# And I forget to do | 0:46:06 | 0:46:10 | |
# The little ordinary things | 0:46:12 | 0:46:17 | |
# That everyone ought to do... # | 0:46:17 | 0:46:20 | |
With the microphone, the middle, mezzo range of the baritones | 0:46:20 | 0:46:24 | |
worked wonderfully. | 0:46:24 | 0:46:26 | |
Rich and mellow. | 0:46:26 | 0:46:28 | |
And the crooner's voice seemed to float | 0:46:28 | 0:46:31 | |
over the lush orchestration. | 0:46:31 | 0:46:33 | |
# And foolish though it may seem | 0:46:35 | 0:46:40 | |
# To me... # | 0:46:40 | 0:46:41 | |
The microphone allowed every nuance of the crooner's voice | 0:46:41 | 0:46:45 | |
to be picked up, | 0:46:45 | 0:46:46 | |
but it demanded impeccable intonation in return. | 0:46:46 | 0:46:50 | |
Every word had to be clear, every phrase delicately put across. | 0:46:50 | 0:46:55 | |
# You'll never know how slow the moments go | 0:46:55 | 0:47:02 | |
# Till I'm near to you... # | 0:47:02 | 0:47:05 | |
And with this kind of clarity, the words could be heard, | 0:47:05 | 0:47:09 | |
and therefore became more meaningful. | 0:47:09 | 0:47:12 | |
They now had equal weight with the music. | 0:47:12 | 0:47:14 | |
# ..in stars above | 0:47:14 | 0:47:18 | |
# It's just the thought of you... # | 0:47:18 | 0:47:20 | |
What's emerging is something quieter, | 0:47:20 | 0:47:23 | |
softer, more intimate - | 0:47:23 | 0:47:25 | |
a whispering jive, they called it. | 0:47:25 | 0:47:28 | |
# The mere idea of you | 0:47:29 | 0:47:34 | |
# The longing here... # | 0:47:34 | 0:47:36 | |
Crooning was also a kind of love-making - | 0:47:36 | 0:47:39 | |
using voice and eyes to seduce. | 0:47:39 | 0:47:42 | |
So crooners like Rudy Vallee and Bing Crosby | 0:47:42 | 0:47:45 | |
would use the microphone as a theatrical prop | 0:47:45 | 0:47:47 | |
to excite the audience, | 0:47:47 | 0:47:49 | |
playing to it as a great movie actor would do to camera. | 0:47:49 | 0:47:53 | |
# Your eyes in stars above | 0:47:54 | 0:47:58 | |
# It's just the thought of you... # | 0:47:59 | 0:48:03 | |
All this was wildly popular, but also pretty scandalous. | 0:48:03 | 0:48:08 | |
# My love. # | 0:48:08 | 0:48:14 | |
APPLAUSE AND CHEERING | 0:48:17 | 0:48:20 | |
Crooning, as it was called - | 0:48:21 | 0:48:23 | |
the soft kind of singing where you are suddenly conscious | 0:48:23 | 0:48:26 | |
of the lyrics and of the melody | 0:48:26 | 0:48:29 | |
in the way that the shouters did not quite let you - | 0:48:29 | 0:48:33 | |
is more than a little erotic. | 0:48:33 | 0:48:36 | |
It's very personal, it personalises the whole idea of popular song | 0:48:36 | 0:48:39 | |
in a way that it had never been before. | 0:48:39 | 0:48:42 | |
The archdiocese in Boston famously - I think it was Cardinal Cushing - | 0:48:42 | 0:48:48 | |
preached against Crosby, in particular, but all the crooners | 0:48:48 | 0:48:52 | |
as being degenerates and bringing a degeneracy | 0:48:52 | 0:48:56 | |
to American culture. | 0:48:56 | 0:48:58 | |
There were hilarious stories in the newspapers | 0:48:58 | 0:49:01 | |
of men suing their wives for divorce | 0:49:01 | 0:49:04 | |
and naming Crosby for alienating their affections | 0:49:04 | 0:49:08 | |
because they could not get their wives | 0:49:08 | 0:49:10 | |
to stop listening to him on the air, that kind of thing. | 0:49:10 | 0:49:12 | |
To begin with, the arousing Bing Crosby | 0:49:13 | 0:49:15 | |
was the coolest of the cool - | 0:49:15 | 0:49:17 | |
certainly not the old guy in the cardigan | 0:49:17 | 0:49:19 | |
singing White Christmas that I grew up with. | 0:49:19 | 0:49:22 | |
# Come let us stroll down Lovers' Lane | 0:49:23 | 0:49:28 | |
# Once more to sing... # | 0:49:28 | 0:49:31 | |
Crosby always sang with such poise, | 0:49:31 | 0:49:34 | |
but also with such emotion. | 0:49:34 | 0:49:36 | |
# ..we must say auf Wiedersehen | 0:49:36 | 0:49:41 | |
# Auf Wiedersehen, my dear... # | 0:49:41 | 0:49:45 | |
So when he crooned Auf Wiedersehen My Dear, | 0:49:46 | 0:49:49 | |
his version of the 1932 song was peerless. | 0:49:49 | 0:49:52 | |
# So let me kiss you once again | 0:49:53 | 0:49:59 | |
# Soon we must say... # | 0:49:59 | 0:50:02 | |
Louis Armstrong, no less, said the voice of Crosby | 0:50:02 | 0:50:05 | |
was like gold being poured out of a cup. | 0:50:05 | 0:50:08 | |
# My dear... # | 0:50:08 | 0:50:12 | |
And Bing returned the complement - | 0:50:12 | 0:50:14 | |
for him, the Reverend Satchelmouth, as he nicknamed Armstrong, | 0:50:14 | 0:50:17 | |
was the beginning and the end of music in America. | 0:50:17 | 0:50:21 | |
Good evening, ladies and gentlemen. | 0:50:21 | 0:50:23 | |
I'm Mr Armstrong | 0:50:23 | 0:50:26 | |
and we're going to swing one of the good ones for you - | 0:50:26 | 0:50:30 | |
a beautiful number, I Cover The Waterfront. | 0:50:30 | 0:50:33 | |
I Cover The Waterfront - I like it. | 0:50:33 | 0:50:35 | |
Look out now, fellas, look out, there. One, two... | 0:50:35 | 0:50:39 | |
In this precious piece of concert footage from 1931, | 0:50:42 | 0:50:45 | |
Satchmo is singing I Cover The Waterfront | 0:50:45 | 0:50:48 | |
by Johnny Green and Edward Heyman. | 0:50:48 | 0:50:50 | |
# I cover the waterfront | 0:50:53 | 0:50:56 | |
# I'm watching the sea | 0:50:56 | 0:50:58 | |
# Cos the one I love | 0:50:58 | 0:51:01 | |
# Will soon come back to me... # | 0:51:01 | 0:51:03 | |
The microphone allowed Louis Armstrong | 0:51:03 | 0:51:06 | |
to develop a new vocal style - | 0:51:06 | 0:51:08 | |
what you might you call a kind of jazzy blues crooning. | 0:51:08 | 0:51:12 | |
The result was this very distinctive interpretation | 0:51:12 | 0:51:15 | |
of a '30s standard. | 0:51:15 | 0:51:17 | |
# Oh, baby, here am I | 0:51:17 | 0:51:19 | |
# Patiently waiting | 0:51:19 | 0:51:22 | |
# Hoping and longing, yearning | 0:51:22 | 0:51:24 | |
# Where are you? | 0:51:24 | 0:51:26 | |
# Are you forgetting? | 0:51:26 | 0:51:28 | |
# Will you remember? | 0:51:28 | 0:51:29 | |
# Will you return? # | 0:51:29 | 0:51:31 | |
Now there is the smooth transition from music to words to scat. | 0:51:31 | 0:51:36 | |
The vibe is informal, almost conversational. | 0:51:36 | 0:51:39 | |
The band's playing at a moderate tempo | 0:51:39 | 0:51:42 | |
and Louis Armstrong's doing what jazz musicians call | 0:51:42 | 0:51:45 | |
"ragging the tune" - picking it apart, embellishing it, | 0:51:45 | 0:51:49 | |
extending it, putting it back together again. | 0:51:49 | 0:51:51 | |
He's playing around with the lyrics. | 0:51:51 | 0:51:54 | |
I think it's magical. | 0:51:54 | 0:51:55 | |
# Shake with fright, oh | 0:51:55 | 0:51:57 | |
# Cos my Dinah might change her mind... # | 0:51:57 | 0:51:59 | |
So let's have one more moment of Armstrong magic. | 0:51:59 | 0:52:03 | |
The song's Dinah, much loved by jazz vocalists | 0:52:03 | 0:52:05 | |
because of the potential for verbal gymnastics. | 0:52:05 | 0:52:08 | |
# Dinah, Dinah | 0:52:08 | 0:52:11 | |
# Oh, Dinah, oh, baby | 0:52:11 | 0:52:13 | |
# Dinah Lee | 0:52:13 | 0:52:14 | |
# Dinah, Dinah, Dinah, Dinah... | 0:52:14 | 0:52:17 | |
HE SCATS | 0:52:17 | 0:52:21 | |
# Oh, baby | 0:52:21 | 0:52:22 | |
# Every night, before your eyes | 0:52:22 | 0:52:23 | |
# Oh | 0:52:23 | 0:52:25 | |
# Cos my Dinah might... | 0:52:25 | 0:52:27 | |
HE SCATS | 0:52:27 | 0:52:29 | |
# If you wandered to China, baby | 0:52:29 | 0:52:31 | |
# I'd hop on an ocean liner | 0:52:31 | 0:52:33 | |
# Yeah... # | 0:52:33 | 0:52:35 | |
Soon Louis, like everybody else, would be lured West, | 0:52:37 | 0:52:41 | |
by the promise of fame and fortune in Tinsel Town - Los Angeles. | 0:52:41 | 0:52:45 | |
By the early '30s, when talkies became established, | 0:52:47 | 0:52:50 | |
Hollywood went musicals crazy. | 0:52:50 | 0:52:53 | |
Studios were in a hurry to buy up songs. | 0:52:53 | 0:52:56 | |
And if you had a knack for writing a song | 0:52:56 | 0:52:58 | |
with a melody that simply wouldn't go away, | 0:52:58 | 0:53:00 | |
those moguls wanted you. | 0:53:00 | 0:53:02 | |
Of course, there was one songwriter the big studios desired | 0:53:03 | 0:53:07 | |
above all others - Irving Berlin. | 0:53:07 | 0:53:09 | |
But it would be with a smaller outfit, RKO, | 0:53:12 | 0:53:15 | |
that he would mine movie gold. | 0:53:15 | 0:53:17 | |
In 1935, RKO contracted the recently established duo | 0:53:22 | 0:53:26 | |
of Fred Astaire and Ginger Rogers to make a musical comedy - | 0:53:26 | 0:53:29 | |
Top Hat. | 0:53:29 | 0:53:30 | |
Given star billing with Fred and Ginger, | 0:53:34 | 0:53:36 | |
Berlin wrote all the songs for the film. | 0:53:36 | 0:53:38 | |
One was a perfect fit of sound and vision - | 0:53:38 | 0:53:42 | |
the truly wondrous Cheek To Cheek. | 0:53:42 | 0:53:46 | |
HE PLAYS "CHEEK TO CHEEK" ON PIANO | 0:53:46 | 0:53:51 | |
In writing for Fred Astaire, | 0:53:57 | 0:53:59 | |
Irving Berlin is writing for a very particular voice - | 0:53:59 | 0:54:02 | |
very laid-back, relaxed, | 0:54:02 | 0:54:04 | |
actually a voice that's benefitting from the craze for crooning. | 0:54:04 | 0:54:07 | |
But at the same time, he's got to write a number | 0:54:07 | 0:54:10 | |
that would showcase the greatest dance partnership in the movies | 0:54:10 | 0:54:14 | |
and so Cheek To Cheek, a masterpiece, | 0:54:14 | 0:54:17 | |
has specific sections that fit that. | 0:54:17 | 0:54:20 | |
Nice, relaxed opening with that melody. | 0:54:20 | 0:54:22 | |
HE PLAYS OPENING BARS OF SONG | 0:54:22 | 0:54:26 | |
# Heaven, I'm in heaven... # | 0:54:26 | 0:54:28 | |
Nice little repeat motif, | 0:54:28 | 0:54:30 | |
it's going to go straight in and you'll remember it for good and all. | 0:54:30 | 0:54:32 | |
# Heaven | 0:54:32 | 0:54:35 | |
# I'm in heaven | 0:54:35 | 0:54:38 | |
# And my heart beats so that I can hardly speak | 0:54:38 | 0:54:44 | |
# And I seem to find the happiness I seek | 0:54:44 | 0:54:50 | |
# When we're out together dancing cheek to cheek... # | 0:54:50 | 0:54:55 | |
There's a nice little section that's kind of going back to his syncopation days. | 0:54:55 | 0:54:59 | |
HE PLAYS AN UPBEAT SECTION OF SONG | 0:54:59 | 0:55:04 | |
Very much the old style Berlin. | 0:55:08 | 0:55:10 | |
# Oh, I love to climb a mountain | 0:55:10 | 0:55:13 | |
# And to reach the highest peak | 0:55:13 | 0:55:16 | |
# But it doesn't thrill me half as much | 0:55:16 | 0:55:20 | |
# As dancing cheek to cheek... # | 0:55:20 | 0:55:22 | |
And then we have the massive new Berlin - | 0:55:22 | 0:55:24 | |
it's almost like Rachmaninoff has broken into his world. | 0:55:24 | 0:55:28 | |
HE PLAYS DRAMATIC PHRASE OF MUSIC | 0:55:28 | 0:55:33 | |
And of course, it gives us the most orgasmic moment in the whole film. | 0:55:39 | 0:55:43 | |
# Dance with me | 0:55:43 | 0:55:45 | |
# I want my arm about you | 0:55:45 | 0:55:48 | |
# That charm about you | 0:55:48 | 0:55:52 | |
# Will carry me through to | 0:55:52 | 0:55:56 | |
# Heaven... # | 0:55:56 | 0:55:58 | |
To film lovers, Top Hat looked a million dollars | 0:55:58 | 0:56:01 | |
but sounded just as good. | 0:56:01 | 0:56:03 | |
And I'll explain why. | 0:56:03 | 0:56:05 | |
On set, Astaire was miming | 0:56:05 | 0:56:07 | |
to a perfect, orchestrated version of Cheek To Cheek | 0:56:07 | 0:56:10 | |
that was recorded before action was called. | 0:56:10 | 0:56:14 | |
# When we're out together dancing cheek to cheek... # | 0:56:14 | 0:56:18 | |
This allowed Fred to concentrate on acting out the song | 0:56:18 | 0:56:22 | |
and dancing with Ginger. | 0:56:22 | 0:56:24 | |
Technical progress had allowed popular song and movie magic | 0:56:28 | 0:56:32 | |
to come together in a completely unforgettable way. | 0:56:32 | 0:56:37 | |
It had taken barely 50 years | 0:56:55 | 0:56:57 | |
since Edison's invention of the phonograph | 0:56:57 | 0:56:59 | |
to reach this point. | 0:56:59 | 0:57:00 | |
Years that saw the genius of Irving Berlin, | 0:57:03 | 0:57:05 | |
and witnessed the magic of Bessie Smith, | 0:57:05 | 0:57:07 | |
Louis Armstrong and Bing Crosby, | 0:57:07 | 0:57:09 | |
when there were new ways to record songs | 0:57:09 | 0:57:12 | |
and new ways to listen to them. | 0:57:12 | 0:57:14 | |
But if the sound of song changed so dramatically | 0:57:19 | 0:57:21 | |
during the first part of the 20th century, | 0:57:21 | 0:57:24 | |
that was nothing compared to what was to come. | 0:57:24 | 0:57:27 | |
Next time - rocking the joint where Elvis first recorded. | 0:57:36 | 0:57:40 | |
Building Phil Spector's Wall of Sound - | 0:57:46 | 0:57:48 | |
how did he do it? | 0:57:48 | 0:57:49 | |
And with the Beatles at Abbey Road - experimenting with magnetic tape, | 0:57:51 | 0:57:55 | |
the invention that made all this great music possible. | 0:57:55 | 0:57:58 | |
# Now its gone, gone, gone | 0:57:58 | 0:58:02 | |
# No, no, no | 0:58:02 | 0:58:04 | |
# There's no welcome look | 0:58:08 | 0:58:11 | |
# In your eyes when I reach for you | 0:58:11 | 0:58:16 | |
# Now you've started to criticize | 0:58:19 | 0:58:23 | |
# The things I do. # | 0:58:23 | 0:58:25 |