SPIKE JONES ~ MUSICAL MAYHEM inc DER FUEHRER'S FACE

THE CATALOGUE NUMBER OF THIS BRAND NEW CD IS: PLATCD 150.

I Wanna Go Back To West Virginia (Shannon, Crago); Der Fuehre's Face (Wallace); Behind Those Swinging Doors (Allan); Cocktails For Two (Sam Coslow, Patricia Johnston); Clink, Clink Another Drink (Ohmen, Carling); Chloe (Song Of The Swamp) (Moret, Gus Kahn); My Old Flame (Sam Coslow, Patricia Johnston); Lieberstraum (Franz Liszt - arranged by Spike Jones, Porter); None But The Lonely Heart (Petr Tchaikovsky - arranged by Brandt, Spike Jones); William Tell Overture (Rossini - arranged by Spike Jones, Weaver); I Kiss Your Hand Madame (Lewis, Young, Erwin, Rotter); Little Bo Peep Has Lost Her Jeep (Devol, Browne); That Old Black Magic (Harold Arlen, Johnny Mercer); Holiday For Strings (Rose - arranged by Porter, Spike Jones); Love In Bloom (Leo Robin, Ralph Rainger); You Always Hurt The One You Love (Fisher, Roberts); Leave The Dishes In The Sink Ma (Spike Jones, Doyle, Berle); Laura (Milt Raskin, Johnny Mercer); Hotcha Cornia (Black Eyes) (Traditional - arranged by Spike Jones); The Blue Danube (Johann Strauss II, Meyer - arranged by Spike Jones, Porter); The Man On The Flying Trapeze (Lee, Leybourne - arranged by Weaver, Spike Jones); A Serenade To A Jerk (Porter, Hoefle); The Glow Worm (Lincke, Robinson, Johnny Mercer - arranged by Spike Jones); 24. Hawaiian War Chant (Ta-Hu-Wa-Hu-Wai) (Arthur Freed, Ray Noble, Leleichaku).

Spike Jones & His City Slickers was no ordinary band, as a glance at the list of instruments it employed makes clear. If Artie Shaw or Benny Goodman ever included passages for Motor Horns, Breaking Glass or Anvils, made a special feature of a Latrinophone (a toilet seat strung with piano wire), a Bleating Goat or a Clucking Chicken, then it is not apparent from their recordings.

The City Slickers were unique. The mayhem they created could transform a tender love song into the musical equivalent of Dante's Inferno. Strange to relate, the perpetrator of all this lunacy came from a good home and up to his thirtieth year held down a steady job as a drummer accompanying such reputable purveyors of the vocal art as Bing Crosby and Al Jolson.

Jones recorded with Hoagy Carmichael and Judy Garland without so much as a revolver shot or manic laugh disturbing the peace. Perhaps a deeper look into his case history will reveal the causes of such a precipitous decline into dulcet dementia.

Exactly when the extravagantly-named child formerly known as Lindley Murray Jones became the rather snappier "Spike" is uncertain, but it is clear that the youngster evinced signs of a great musical talent. After finishing his education, Spike worked as a session muscian for five years. He was a regular member of the band which played on radio shows fronted by Jolson, Crosby, Burns and Allen. No doubt Spike was busy noting down revolutionary musical ideas for future use.

Early in 1941, tired of constraints imposed upon him by singers who preferred not to have ballads supplemented by train imitations, Spike Jones formed his own band. Once Spike & His City Slickers began recording, it took some time before they reached their full mature magnificence. Early discs display disturbing traces of normality.

By the time of Spike's first million selling hit "Der Fuehrer's Face" in 1942, however, it is clear that his fevered imagination was already in overdrive.

For ten years Spike and his band were to be found among the best selling records in the country, and the bandwagon just kept rolling along until the early sixties.

Spike sadly died in 1965 from emphysema. He left behind a distinctive recorded legacy which still sounds fresh to this day.

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