#Eddie DeLange

[uglypastels]

Corroded Coffin, Cryptic (1991)

After the release of their record-breaking debut album, Corrosion, expectations of Corroded Coffin's next record were high, to say the least. It is, after all, not often that we get to see a new artist climb its way up the ladder of success as smoothly as we saw it happen in '88. The band's debut dominated not just the Rock charts, positioning the rookies comfortably among the greats of Guns 'n Roses, former Beatles and even Michael Jackson. All this accumulated into one of the best-selling albums of the year and ended award season with three Grammy nominations the next year. On top of that, their Corrosive Damage Tour grossed over 20 million dollars, nearly selling out every date on the roster.

Thus, when the band released their single "Unnamed," immediately hitting the top 10 on nearly every chart, everything seemed to be heading in the same direction for the band's sophomore project Cryptic.

Unfortunately, that does not seem to be the case.

It is natural for artists to want to out-do themselves, fearing to be seen as a one-trick pony, but in the case of Corroded Coffin, that came to be a self-fulfilling prophecy. The musicians' need to proof their skills and range, resulted in a incoherent collection of songs that veer too far off from what their fans had grown to love in the first place.

When asked about what they thought of the album, one fan said: "I don't know what I just listened to, but [Corroded] Coffin it ain't."

"They better get their shit together, because I'm not paying money to see this crap live," another listener exclaimed.

Experimentation is always encouraged in the music industry, as is re-invention, but there is a time and place for it, and for a band that has only released one prior record, that time was not now. All choices made in the production, from the voice filters to a new peculiar guitar style, seem to have come from a clear place of insecurity, in particular in the band's frontman, Eddie Munson.

That is now surprise however, as prior to the release of Cryptic, Munson had already been quoted to voice his concerns on several occasions. When on air with Jackie deLange from HRM.FM last December, the singer/guitarist talked of the fears that come with a hit release such as Corrosion:

"The second Corrosion started rising the charts, the only question on everyone's mind was What's next? And shit if I know. We never expected to get where we are now with this record. It was made in a toilet of a studio on a barely existent budget, if you can call it that. The odds were certainly not in our favour and I still don't know how we managed to pull this off. [...] It's deffinitely an immense amount of pressure for someone that barely graduated high school. I don't know if I can do anything as well as that, but I can for sure try."

The quote also begs to question, is the real problem behind the lack of further success the amount of recources available to them under the new label? Having signed on to Black Widow Records mid-tour, the band gained access to equiptment and people unimaginable to unsigned nobodies as they were while creating their breakout hits. Such a change must have been overwhelming, and while it can bring a new form of freedom to the process, it also clearly creates a much larger area for mistakes.

Either way, I hold out hope that it was nothing but a hiccup in the discography, and that the band will come to realise what makes their style theirs and grow with it, but for now the album will remain a reminder for us all that you must learn to walk before you can run.

- The Corroded Coffin Archive (Source: Metal Edge)

[sheetmusiclibrarypdf]

Lalo Schifrin (born 1932)

Lalo Schifrin (born on this day in 1932)Best Sheet Music download from our Library.Please, subscribe to our Library. Thank you!Lalo Schifrin – Black Widow (CTI Records – CTI 5000 - US - 1976)Track listingPersonnel

Lalo Schifrin (born on this day in 1932)

Educated by his father, Luis Schifrin, (Boris Claudio Schifrin , Buenos Aires, June 21, 1932), first violinist of the Teatro Colón Orchestra of Buenos Aires in the environment of classical music from a very young age, Lalo traveled to Paris to study classical music and jazz at the Parisian conservatory where, during the week he would study classical music, and on weekends he performed in small jazz clubs with the best jazz exponents in Europe. When he returned to Buenos Aires in the mid-1950s, he formed his own band and on a visit by the legendary trumpeter Dizzy Gillespie, passing through Buenos Aires, he has the opportunity to see him live. Dizzy, after hearing his music, offers her to travel with him to New York as his pianist and director. From that moment on, Lalo Schifrin began to compose music, writing more than 100 melodies for movies and television series. He was nominated for Grammy Awards 21 times, winning 4; He also received an ACE Award, and 6 Oscar nominations. The films and television series that contain Schifrin's most famous works are: 'Mission Impossible'; 'Kung Fu' and 'Mannix.' As a jazz musician he has shared the stage with great instrumentalists and singers such as Sarah Vaughan, Ella Fitzgerald, Stan Getz, and Count Basie among others. Throughout his long and successful career, Lalo Schifrin has performed in the best concert halls in the world such as Carnegie Hall and Lincoln Center in New York, The Music Center in Los Angeles, the Sala Pleyel in Paris, the Teatro Colón in Buenos Aires, as well as at all major jazz festivals in the United States and Europe. Schifrin made it possible for the three most important tenors of the late 20th century: José Carreras, Placido Domingo, and Luciano Pavarotti, to sing together through his arrangements and mixes so that each one's tones coincide. This highly successful series of recordings has attracted many new admirers in the world of classical music.

In 1993, Schifrin came to prominence as a composer, pianist and conductor for his series of recordings entitled 'Jazz Meets the Symphony', where he worked with the London Philharmonic Orchestra and the London Symphony Orchestra, as well as with jazz musicians Ray Brown, Grady Tate, Jon Faddis, Paquito D'Rivera, and Jeff Hamilton. Schifrin's honors include the BMI Lifetime Achievement Award (1988), the Chevalier de l'Ordre des Arts et Lettres from the French Minister of Culture, the Distinguished Artist Award (1988) from the Music Center of The Angels; the title of consultant to the President of Argentina on Cultural Issues (1998); and the appointment of Musical Director of the Los Angeles Latin Jazz Institute Festival (1999). At the time of writing this biography, Lalo Schifrin continues to compose jazz and classical music; He tours with major orchestras and works on composing music for films. In 2018, Schifrin received an Honorary Oscar for his entire professional career from the Hollywood Academy.

Lalo Schifrin – Black Widow (CTI Records – CTI 5000 - US - 1976)

https://www.youtube.com/watch?v=r3h2vv3pIN4 Black Widow is an album by Argentine composer, pianist and conductor Lalo Schifrin recorded in 1976 and released on the CTI label. Title: Black Widow Musician: Schifrin, Lalo. Accompaniments : Pepper Adams Recording Date: 1976. March 29-30 Recording Location: New York Record Label: CTI Number of topics: 12 Format: CD Instrument: Piano Style: Cool Track listing All compositions by Lalo Schifrin except as indicated "Black Widow" – 4:11 "Flamingo" (Edmund Anderson, Ted Grouya) – 4:31 "Quiet Village" (Les Baxter) – 5:45 "Moonglow/Theme from Picnic" (Will Hudson, Irving Mills, Eddie DeLange/George Duning, Steve Allen) – 6:13 "Jaws" (John Williams) – 6:01 "Baia" (Ary Barroso, Ray Gilbert) – 4:49 "Turning Point" – 3:29 "Dragonfly" – 5:45 "Frenesi" (Alberto Dominguez) – 3:53 Bonus track on CD reissue "Tabú" (Margarita Lecuona) – 4:33 Bonus track on CD reissue "Baia" (Barroso, Gilbert) – 7:44 Bonus track on CD reissue "Con Alma" – 6:30 Bonus track on CD reissue Personnel Lalo Schifrin – piano, keyboards, arranger, conductor Jon Faddis – trumpet Wayne Andre, Billy Campbell, Barry Rogers – trombone Dave Taylor – bass trombone Pepper Adams – baritone saxophone Joe Farrell – alto saxophone, flute Jerry Dodgion, Hubert Laws, George Marge – flute Clark Spangler – keyboards Eric Gale, Jerry Friedman, John Tropea – guitar Anthony Jackson – bass Andy Newmark – drums Don Alias, Carter Collins, Sue Evans, Carlos Martin – percussion Patti Austin – vocals Max Ellen, Paul Gershman, Emanuel Green, Harold Kohon, Charles Libove, Harry Lookofsky, David Nadien, Matthew Raimondi – violin Lalo Schifrin is an outstanding arranger, composer and pianist who has deservedly earned fame in his years of work composing soundtracks for TV series. "Mission Impossible", "Manix" and other renowned television series bear his signature and seal. But Lalo is, essentially, a jazz musician, and this "Black Widow" is his star album for a label, CTI, that was not lavish in offering its studies to anyone. This is a good album by an Argentine musician, who loves jazz above all music. Read the full article

[dweemeister]

New Orleans (1947)

The city of New Orleans is synonymous with a rich cultural tapestry shaped over centuries. Located on the banks of the Mississippi River, its economic and political influence waned with the spread of railroads and highways. Today, its influences are indigenous American, African, French, Spanish, Creole, Honduran, Vietnamese, and much more. But the city remains an inimitable cultural force. One of the city’s most significant contributions to the world is jazz – a musical genre that, even in the mid-twentieth century, attracted racially-coded disdain.

I must admit that I am instantly suspicious of any film that takes a city’s name as its title. Being not in a sniping mood as I write this sentence, I will not single any certain film out – for now. But to reduce a film title to a city’s name is to heighten expectations that the filmmaker will capture the so-called “soul” of a city (a nearly impossible task). Or perhaps they shall depict a man-made or natural disaster that takes place in that city (how often does a city’s name become shorthand for a mass shooting?). Enter Arthur Lubin’s New Orleans: a quasi-musical that does not have the courage to let the musical numbers guide it. The film stars Louis Armstrong (essentially playing himself) and Billie Holiday (not playing herself in her only credited role in a feature film), in addition to other jazz stalwarts at the time: Woody Herman, drummer Zutty Singleton, clarinetist Barney Bigard, trombonist Kid Ory, guitarist Bud Scott. New Orleans makes the mistake of not having Armstrong and Holiday be the main stars. Instead, the film has a half-baked, predictable romance. For a film title with such enormous implications, New Orleans’ concentration makes no sweeping statements about the eponymous city. Instead, it turns its gaze to jazz’s reputation among high-society white Americans.

It is 1917. The Storyville district of New Orleans is a den of prostitution, drinking, gambling, and – worst of all – jazz. Storyville’s residents are mostly black, but some of its welcome patrons are white. Nick Duquesne (Mexican actor Arturo de Córdova) runs a gambling joint frequented by Mrs. Rutledge Smith (Irene Rich) and classical music conductor/pianist Henry Ferber (Richard Hagerman). Irene avoids the jazz there (one of the regulars is Louis Armstrong and the aforementioned players), but her daughter, Miralee (Dorothy Patrick) – an operatic soprano who has arrived in New Orleans to make her professional classical music debut – is entranced by this radical music. Miralee is also entranced with Nick, against her mother’s wishes. Miralee is staying with her relative when she meets their maid, Endie (Billie Holiday), who surreptitiously plays the piano and sings jazz music when she gets the chance. As you might imagine, Endie’s employers disapprove. The film comes to a head as the U.S. military forcibly shuts down Storyville (evicting hundreds of black residents overnight), Nick leaves New Orleans, and Miralee must contend with her emotions just before she makes her classical music professional debut.

Billie Holiday’s fans might be troubled by the fact she is a maid here, given that she intentionally avoided physically demanding occupations in real life. Her reaction to this casting is unclear, as different reputable sources offer contradictory claims: that she abhorred being cast as a maid (Meg Greene’s Billie Holiday: A Biography), or that she relished the opportunity to be in a motion picture regardless of the role (an interview with music journalist Leonard Feather). So as tough as it may be to see her in a subservient role, Holiday appears to be enjoying herself – especially during the musical numbers she is a part of. She is clearly, other than Louis Armstrong, the most musically accomplished member of the cast. But when her character disappears from the film in the final third, New Orleans heaves due to the hackneyed romance between Nick and Miralee. To toss the one actor making this film worth watching for no sensible reason is a disastrous choice by screenwriters Elliot Paul (1941’s A Woman’s Face, 1945’s Rhapsody in Blue) and Dick Irving Hyland (1947’s Kilroy Was Here).

Even in a film independently released through United Artists (the one major Hollywood studio of Old Hollywood with the least executive interference), she and Armstrong cannot be the central stars. Considering Holiday’s musical talents, one wonders why she never starred in another film. Despite some digging, I could not find the answer. But if any black woman musician could have films centered around her, it would be Holiday. Her contemporaries, Lena Horne and Ethel Waters, could never overcome the terrible beliefs that audiences would not pay to see a film with a black actress in the lead role. But did Holiday – noting how Louis Armstrong also appeared in films – want to make more films? That may be an answer for someone else to uncover.

More than any film of its time that I can recall, New Orleans is overflowing with a disobedient musical energy. When considering musical genres innovated by African-Americans, there is an underground aspect to their initial spread that, at first, appears exclusive. Jazz, R&B, and hip hop have all gone through these motions: a tumultuous, secretive birth; a rebellious adolescence where critics decry the moral fabric of such music; and finally mainstreaming. Jazz in New Orleans lies somewhere within that adolescence. Its troubled reputation is the result of a mixture of musical and racial tensions. New Orleans’ affluent white community, on its surface, disdains jazz and prefers the import that is Western classical music – opinions they express vocally (as an amateur classically-trained musician who learned more about jazz later in life, I can’t stand the gatekeeping behavior exemplified in this film). So any time that jazz music is played in an unorthodox setting – the parlor of the Smith household, an orchestra hall – it feels defiant, dangerous.* These musical-racial dynamics persist in America to this day. To even see a film acknowledge that conflict, however ineloquently, is credit to the screenwriters and director Arthur Lubin understanding aspects about musical popular culture of this time.

But what is New Orleans and New Orleans without music? First sung by Holliday and reprised (one might even say appropriated in the negative sense) multiple times is, “(Do You Know What It Means to Miss) New Orleans”, with music by Louis Alter and lyrics by Edgar De Lange. Louis Armstrong is on his signature trumpet, a phalanx of great jazz instrumentalists play on the flanks, and Billie Holiday’s voice captures the timbre necessary in any song about longing.

Do you know what it means to miss New Orleans And miss it each night and day? I know I’m not wrong, the feeling’s getting stronger The longer I stay away.

It is a song representative of this film’s failed ambitions as an embodiment of New Orleans’ spirit. But it is also a brilliant showcase for some of the great jazz figures working at this time – including instrumental performances by Woody Herman and his orchestra and a virtuosic performance of “Honky Tonk Train Blues” by pianist Meade “Lux” Lewis. Nevertheless, New Orleans’ most soulful performances always revolve around Armstrong and Holiday singing Alter and De Lange’s original compositions. Other soundtrack highlights include “The Blues are Brewin’” and “Farewell to Storyville”. The former exemplifies Holiday’s timeless appeal, her singing voice’s unornamented pathos that elevates the simplest of lyrics. The latter is the most context-dependent song in the soundtrack and occurs as the U.S. military orders the closure of the speakeasies and gambling joints of Storyville – a swinging elegy without defeatism. New Orleans is at its most enjoyable during these musical numbers, and the film just feels lost whenever Armstrong and Holiday are not present or when any of the supposed leads open their mouths to speak.

That Lubin and the film’s producers do not trust the soundtrack to carry New Orleans indicates an ironic misgiving towards jazz music itself. United Artists’ refusal to reward Armstrong and Holiday star billing over de Córdova and Patrick is probably rooted to then-contemporary reality that movie theaters in the American South refused to show films with black leads. In addition, jazz music – like in this film – was not yet completely in the mainstream. If it appeared in a Hollywood film (and elements of jazz often appeared in mid-century American musicals), it almost always would be presented and popularized by a white performer. This development is not exclusive to jazz, let alone artistic medium. The filmmakers, in New Orleans’ final third, muddle their message through such appropriation. “Cultural appropriation” at its most basic definition is a neutral concept, but the developments in the film’s closing scenes – intentional or otherwise – extend this appropriation by presenting a white person’s presentation of jazz as more acceptable to a general audience than a black person’s.

For New Orleans, it remains obscure in terms of Hollywood musicals, African-American cinema, and within the esteemed United Artists filmography. In the present day, it serves best as an exhibition for some of the most acclaimed jazz musicians and performers working in the 1940s. To those fans of the numerous black jazz performers appearing in the film, New Orleans is a bittersweet reminder of what may have been.

My rating: 6.5/10

^ Based on my personal imdb rating. Half-points are always rounded down. My interpretation of that ratings system can be found in the “Ratings system” page on my blog (as of July 1, 2020, tumblr is not permitting certain posts with links to appear on tag pages, so I cannot provide the URL).

For more of my reviews tagged “My Movie Odyssey”, check out the tag of the same name on my blog.

* In one scene in an orchestral concert hall, jazz is played as an encore to a classical music concert. It says volumes that the audience is beside themselves and that all of the members of the orchestra (and Richard Hagerman, playing their conductor) are transfixed.

[detrixsta]

"Moonglow" (1934/09)

Performed by: Borrah Minevitch & His Harmonica Rascals

Composers:  Will Hudson & Eddie DeLange Lyricist:  Irving Mills

Decca Record 174-B matrix #:38689=A (Recorded in September 1934)

[great-american-songbook-poetry]

Filled with despair There's no one, no one No one could be so sad With gloom everywhere I sit and I stare I know that I'll soon go mad In my solitude I'm afraid Dear Lord above Send back my love

Eddie DeLange and Irving Mills, “Solitude”

[msv-photography]

Deep in a dream I dim all the lights and I sink in my chair, the smoke from my cigarette climbs through the air.

[ftguworldwide]

“A STRING OF PEARLS” - GLENN MILLER [1942]

"A String of Pearls" is a 1941 song composed by Jerry Graywith lyrics by Eddie DeLange. It was notably recorded by Glenn Miller and His Orchestra on RCA Bluebird that November, becoming a #1 hit. The song is a big band and jazz standard.

[projazznet]

Dexter Gordon – One Flight Up

Track listing: “Tanya” (Donald Byrd) – 18:18 “Coppin’ the Haven” (Kenny Drew) – 11:17 “Darn That Dream” (Eddie DeLange, Jimmy Van Heusen) – 7:30

Personnel: Dexter Gordon – tenor saxophone Donald Byrd – trumpet (tracks 1 & 2) Kenny Drew – piano Niels-Henning Orsted Pedersen – bass Art Taylor – drums

_________________________

Released: Mid September 1965 Recorded: June 2, 1964 CBS Studios, Paris Length: 37:05 original LP Label: Blue Note

[diyeipetea]

"Flying Home" [Charlie Christian The Genius Of Electric Guitar (Columbia - Legacy)] Por Pachi Tapiz. JazzX5 #484 [Minipodcast de jazz]

“Flying Home” [Charlie Christian The Genius Of Electric Guitar (Columbia – Legacy)] Por Pachi Tapiz. JazzX5 #484 [Minipodcast de jazz]

“Flying Home” Benny Goodman Sextet Charlie Christian, Benny Goodman, Lionel Hampton, Fletcher Henderson, Artie Bernstein, Nick Fatool. El tema es una composición de Lionel Hampton, Benny Goodman, Eddie DeLange. El tema se grabó el 2 de octubre del año 1939. Tras la intro de Henderson al piano sigue el solo de Goodman al clarinete, un soberbio Charlie Christian a la guitarra eléctrica, Lionel…

[upismediacenter]

LITERARY: A cigarette, a silhouette

[CONTENT WARNING:VIOLENCE, SMOKING])

Cue, smoker Everyday, in the apartment across from mine a graying window pane would hint me of the fellow incendiary once more lighting up

And so thirty, maybe forty feet away, this big bad wolf would huff, puff, and cough Which is why I’d first only wonder, What’s he doing–acting tough?

But with his two sneering eyes, that would wander and count, and fingers pointing one, two, three, to the borders of safety separating him, from me –terror would surge prompting me to retreat; but with every attempt, he’d beckon me back, and threaten great harm should I so try to leave

Confrontation One silent afternoon I had pulled down the drapes and no longer was he there Instead, outside from the ground, he shot up a vicious stare

Then he disappeared, for now taking vision’s place was heavy stomping and marching And as the thuds grew louder, I knew he was coming My face drenched in sweat, I knew not what would happen next

In the silence that ensued

through the door I then peeped

The wolf had arrived to play 

with a wicked smile 

spread all over his gnarled face 

Quickly slamming it shut he then banged and proclaimed, “I’ve something important to tell you.” And so, holding my breath I crawled under the safety of my bed –a secret it had kept, Below lay Pandora’s box which held means for his death

Unhinging the door, I let out a big swing and with a pierce through the neck, flowed a river of red This big bad wolf, once huffing, puffing, and coughing smoke, Now gasped for air In drawing his last breath he said, “But I was only trying to help… Red”

Note from Writers: The title of this piece is an homage to the 1938 jazz song, “A Cigarette and a Silhouette”--an old signature tune of the deceased Native American jazz singer Mildred Bailey. The song was written by Edgar “Eddie” DeLange, Jimmy Van Heusen, and lastly, Mildred’s husband at the time, Red Norvo. It was from his first name which stemmed the idea to incorporate the theme of the fairytale story, “Little Red Riding Hood”.

[roundaboutmidnight]

A música é "Darn That Dream", uma canção popular composta por Jimmy Van Heusen com letra de Eddie DeLange. Foi publicado em 1939 e ficou em primeiro lugar em 1940, quando uma gravação foi lançada por Benny Goodman em um arranjo de Eddie Sauter com Mildred Bailey cantando o vocal.

Neste vídeo temos, no Vocal , Briana, no baixo, Nathaniel, na guitarra, PJ, no sax, Jeremy e na bateria, Alex. Todos da Stringspace jazz Band.

Cara, é muito bom!...

[petervc88]

Uitzending Cappelle Calling - 5 september 2019 - ValleiRadio

Omdat het de 73ste verjaardag van Freddie Mercury zou zijn geweest stond de DisCovered in teken van hem. Bij de Guilty Pleasure had ik een verhaal.

Terug luisteren kan hier.

Dit was de playlist:

Uur 1:

Pacific Gas & Electric - Are You Ready? '70 Editors - Black Gold '19 Red Hot Chili Peppers - Road Trippin' '99 Freddie Mercury - The Great Pretender '87 (DisCovered) Paloma Faith - Stone Cold Sober '09 The Slow Show - Eye To Eye '19 Joe South - Games People Play '69 Deep Purple - Hush '68 (Filmplaat - uit 'Once Upon A Time In Hollywood') Carice van Houten - Emily '12 Nick Cave & The Bad Seeds - The Ship Song '92 Sea Girls - Violet '19 (ValleiSchijf) Al Stewart - Year Of The Cat '76

Uur 2:

Queen - Seven Seas Of Rhye '74 Miley Cyrus - Slide Away '19 The Platters - The Great Pretender '55 (DisCovered) The Teskey Brothers - So Caught Up '19 Prince - Take Me With U '84 Vengaboys - We're Going To Ibiza '99 (Guilty Pleasure) Zager & Evans - In The Year 2525 '69 Cigarettes After Sex - Heavenly '19 Supergrass - Moving '99 Lana Del Rey - Fuck It, I Love You '19 Eddie Money - Take Me Home Tonight '86 Jon Allen - In Your Light '09 Ilse DeLange - Where Dreams Go To Die '19 The Temptations - Papa Was A Rollin' Stone '72

Volgende week donderdagavond van 20:00 t/m 22:00 is er weer een nieuwe uitzending van Cappelle Calling op ValleiRadio.nl. Verzoekplaten of suggesties voor DisCovered, De Filmplaat of de Guilty Pleasure zijn welkom via de Facebookpagina van het programma.

[gwendolyne85]

Nan Wynn, born Marsha Vatz (May 8, 1915 - March 21, 1971) was an American big-band singer, and Broadway and film actress. She sang and recorded throughout the 1930s and 1940s with the Emery Deutsch, Rudy Vallee, Eddie Duchin, Richard Himber, Hal Kemp, Hudson-DeLange, Raymond Scott, Teddy Wilson and Freddie Rich orchestras. Wynn was born inJohnstown, Pennsylvania, and grew up in Wheeling, West Virginia, where she attended high school, and sang in the school choir

[ukuleleisthenewblack]

S3E06 Andrew Swackhamer

Today I have another conversation recorded in New York earlier this year, with Andrew Swackhamer – self proclaimed ukulele wizard, and all-round gorgeous human.  He appeared at the door of my hotel room carrying a ukulele and a gift of chocolate, and I immediately knew we were going to have a great chat!  I hope you enjoy it too.

Some show-related links below:

K. Rowling

Hogwarts

Outlander

All Our Exes Live In Texas

Uke Hut

Andrew’s Kala Ukulele

KoAloha Ukulele

Starbird and the Phoenix

Courtney Bassett

Ukulele Lessons NYC

The Sims

Birdland Jazz Club

Jim Caruso’s Pajama Cast Party – now virtual!

The Great American Songbook

Jake Shimabukuro songbooks

Taimane

Honoka and Azita

Abe Lagrimas, Jr

Songs played on the show:

Home (Andrew Swackhamer)

Moonglow (Will Hudson, Irving Mills & Eddie DeLange - 1933)

Go to the Ukulele Is The New Black YouTube channel for a playlist to hear these songs as well as others relating to the episode.

Ukulele is the New Black is produced by Meredith Harper, who also wrote the theme tune. The theme tune was performed by Meredith Harper, Jasmine Fellows, Geoff Skellams, Jim Croft, Chris Williams, Paul Marsh and Sandra Shaw.  Seb Carraro does the graphic design.

Thanks to my $10 and over Patreon supporters for helping me to make this podcast:

Ukulele Champion: Debbie Hoad

Ukulele Legend: Linda Dodwell

The music played in this episode is licenced under a Podcasts (Featured Music) agreement with APRA AMCOS.

Another great episode of Ukulele Is The New Black