Sound Beat
Weeknights at 9:58pm
Got 90 seconds?
Then you've got time for a trip through the history of recorded sound! Sound Beat is a daily, 90 second show highlighting the holdings of the Belfer Audio Archive. The Belfer is part of the Syracuse University Library, and with over half a million recordings, is one of the largest sound archives in the United States. Each SB episode focuses on one particular recording from the Archive, and provides a back story detailing its place in recording history.
For more information, visit the Sound Beat website.
What kinds of recordings? Popular and classical music performances, film scores those from distinctly American musical forms like jazz, bebop, country, and bluegrass. Old favorites, rare gems, and some we guarantee you've never heard before - from Cab Calloway to the castrated stars of Italian opera, you'll hear it all on the Sound Beat!
And it's not just music. Sound Beat episodes also feature speeches and spoken word performances from some of the great thinkers, political figures and luminaries from the late 19th and early- to mid-20th centuries. People like Thomas Edison, George Bernard Shaw, Amelia Earhart, Albert Einstein, and Theodore Roosevelt.
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The song you hear ”Let Me Call You Sweetheart” by Bing Crosby with Georgie Stoll and His Orchestra was recorded in 1934 on the Decca label. You’re on the Sound Beat. “Let Me Call You Sweetheart“ was originally written by Leo Freidman and Beth Slater Whinston in 1910. The song was a big hit for Author Clough in May 1911 and a #1 hit for Henry Burr and the Peerless Quartet in November 1911 And this version is still popular today. In fact “Let Me Call You Sweetheart” by Bing Crosby was #3 on Apple Music’s top 200 jazz songs in Bolivia on January 27 2019. This episode was written by Ian Coe. Artwork by Omari Odom. Watch a video of their work at Let Me Call You Sweetheart — Sound Beat – Syracuse University Videos
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You’re listening to the Jesters with a Decca recording from 1944. Railroads were the nation’s backbone at the time and schedules were of the utmost importance. The engineer set out an hour and a half behind schedule in the wee hours of April 30th 1900. He was determined to make up the time from Memphis to Canton, Mississippi and had just about done so a couple miles outside of Vaughan. But two trains were already taking up the passing tracks at the station, with cars left out on the main line. Jones, somewhat miraculously, slowed the train’s 75 mph speed to 35 at the time of collision. He was killed in the impact, his being the only fatality, and preventing many more. Image: Casey Jones’ home at the time of his death. This work is licensed under the Creative Commons Attribution-ShareAlike 3.0 License.
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That riff can only mean one thing…you’re listening to Chuck Berry…and you’re on the Sound Beat. Okay, two things. Hearing your daughter play classical music must be a tremendous joy for a parent…and perhaps a source of sheer torment for a sibling. Especially if said sibling is Chuck Berry, who reportedly wrote this song as a response to his sister monopolizing the family piano. He recorded it for Chess records in 1956. It’s the quintessential “us vs. them” song, a signal that the Beethovens and Tchaikovskys had been replaced by the Louis Jordans, Carl Perkins’ and Bo Diddleys. They’re all referenced, somewhat indirectly, in the song’s fourth verse. If you missed the references, the “blue suede shoes” is a Carl Perkins nod, “Hey diddle-diddle” is a little Bo Diddley shout-out, and “Early in the mornin'”refers to the same-titled Louis Jordan song. Berry claimed that some of his most well-known riffs were inspired by those of Jordan’s guitarist Carl Hogan. Read more here. And, of course, if you caught ‘em…good job.
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The mythical Sirens have long been depicted as tantalizing, seductive, banes to the existence of accursed sailors, enchanted by their fatal song. The Greeks had them as winged maidens, but somewhere along the way, the meaning shifted: in most European languages, the word Siren translates as “mermaid”. You’re listening to the Green Brothers Novelty band with “Siren of the South Sea”. If the smell of fresh-brewed coffee renders you helpless, you may have run into Melusina today. Starbucks has used the half-woman, half water-serpent’s likeness since 1971, based on a Norse woodcut. Why the nautical theme? Starbuck was the name of Captain Ahab’s first mate in Moby Dick.
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The scene: a dimly lit jazz club. A lone spot light illuminates the musicians, plying their trade amidst billowing plumes of smoke. Cigarette smoke, you’d assume…unless you were Harry Anslinger. Anslinger was appointed the Commissioner of the Federal Bureau of Narcotics in 1937. Policy-wise: think…the McCarthy of marijuana. His target: International kingpins? Schoolyard pushers? No. “Musicians,” he told a senate committee in 1948 “and not good musicians, jazz musicians.” Jazz was exploding at the time, and there was an immediate backlash. He could’ve used a softer PR tactic…but, come on… the jazz songbook is full of lightly-veiled references to marijuana, from Stuff Smith’s “If You’re a Viper” to Louis Armstrong’s “Muggles”. And some songs…some songs made no attempt at pretense. You’ve been listening to Dizzy Gillespie, Charlie Parker and others with 1945’s…“Groovin’ High.”
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The first moving-picture machine in history, the kinetoscope, was developed by William Kennedy Dickson , while under the employ of Thomas Edison. One of the biggest problems with early films was the need for, and unavailability of, light. So when Edison built the Black Maria studio in 1893, he had it completely covered in tar paper, to attract light. Not only that, but the ceiling had a retractable window.And, because it was Edison, the whole building was constructed on a turntable that could pivot said retractable ceiling towards the best angle of light. The first copyrighted film was not a comedy, a thriller, but a…ahem…bodily function. It was entitled “Kinetoscopic Record of a Sneeze”, and known commonly as “Fred Ott’s Sneeze”. Ott was another Edison employee, and his sneeze was arguably the most famous in film history…until Woody Allen’s. For more on the film industry’s early days, follow this link to a great breakdown at AMC.com.
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Like Slim Gaillard said, “The Atomic Cocktail” is “the drink that you don’t pour”…until Las Vegas bartenders made it one. You see, in 1951, the government announced Nevada would be home to new bombing test sites. There was, understandably, heightened tension in the area…but then, Vegas knows a thing or two about relieving tension. Hotels and bars embraced the plans and the Atomic Cocktail was born. Want to make your own? (info courtesy of Esquire Magazine) Just take: 1 1/2 ounces vodka 1 1/2 ounces brandy 1 teaspoon sherry 1 1/2 ounces Brut champagne Stir the vodka, brandy, and sherry well with cracked ice, then strain into a chilled cocktail glass and add 1 1/2 to 2 ounces cold brut champagne. Garnish with plastic three-eyed fish from Simpsons playset. Note: If you use the sweeter Spanish brandy, opt for the drier Amontillado sherry. Conversely, if you use the (dry) cognac, choose the (sweet) Oloroso. We strive for balance in all stirs.
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El Capitan is a selection from, and title of, Sousa’s first operetta. A political thriller set during the Spanish possession of Peru, it debuted in Boston in April 0f 1896. This recording, though, was made by the London Concert Orchestra and recorded on a Lambert Cylinder. They’re the easy-on-the-eyes cylinders, coming in shades of pink, as well as purple, blue and black. And they’re also pretty rare…they were the first cylinders made of celluloid, making them much more durable than wax. But…the parallel technologies battle among early-20th century cylinder manufacturers was a fierce one.. Lambert would only produce their records from 1901 to 1905. For a more-detailed breakdown of the Cylinder Wars, check out our blog at soundbeat.org.
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Lyricist Jack Yellen wrote Happy Days are Here Again with composer Milton Ager in 1929. Yellen was a registered Republican…which bears relevance in that the song would become not only Franklin Roosevelt’s 1932 campaign song, but the unofficial song of the Democratic Party for years to come. He probably still cashed those checks, though. You’ve been listening to Leo Reisman and his Orchestra on a Victor 78 from 1929. The song was featured in the 1930 MGM film Chasing Rainbows, and the Recording Industry Association of America put it #47 on their “Songs of the Century” list in 2001. This episode was co-written with Christina Reid, part of the Sound Beat Class Partnership. Image: FDR with Anna Roosevelt Halsted and Eleanor Roosevelt during campaign at Warm Springs, Georgia enroute from his cottage to the station. October 24, 1932. Licensed under the terms of the cc-by-2.0.
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Intended to give voice to union workers during the progressive era, the song was written by Pete Seeger and Lee Hayes in 1949. The Hammer Song was the breakout hit for their musical group The Weavers and released on their label, Hootenanny Records, in March of 1950. The song paved way for their commercial success, leading to hits “Kisses Sweeter than Wine,” and “Wimoweh,” The song’s original intent spoke well to the civil rights movement, and also helped to kickstart another group’s career. Peter, Paul and Mary’s 1962 version was their first big hit…their next was Puff the Magic Dragon. This episode was co-written by Kelsey Francella, part of the Sound Beat Class Partnership. Photo credit: http://upload.wikimedia.org/wikipedia/commons/2/2b/Pete_Seeger_1986.jpg