#the marcels

[musictherapy611]

The Marcels, “Blue Moon,” 1961

[ometochtli2rabbit]

MAYA:

13.0.13.10.9

joj [5] MULUK|TOJ (water) - ka'a[2] ZIP|CHAKAT

galactic tone: empowerment/ the center

sun sign: OFFERING| shark/red/east

offer appreciation for all creation

MAYA CROSS:

head- crocodile - 10

heart- shark- 5

feet- woodpecker- 13

vertical axis- red

left arm- eagle/quetzal/bird- 11

right arm- bat - 12

horizontal axis- black

1 KIEJ [deer] = 52 - number of najuales

NAHUA:

mahcuilli [5] - ATL [water]

Tlazolteotl | Xiuhtecuhtli

itzthotli [black hawk]

lord of the night: Xiuhtecuhtli

trecena [5]: Xiuhtecuhtli

xiuhpohualli (365-day calendar): ce[1] - OCHPANIZTLI (sweeping)

_________________________________________________________________

"Valley of the Moon", Remedios Varo, 1950

"Rabbits Under Moon", Hiroshige, 18th -19th C

"The Moon", Alphonse Mucha,1902

"Shadow with Pelvis and Moon", Georgia O'Keeffe,1943

__________________________________________________________________

MULUK| TOJ

Yucatec Maya - Muluk - "water" or perhaps "moon"

Quiche Maya - Toj - "torch", "payment", "offering", "blood sacrifice"

Personality and Destiny:

These people suffer from the "sins" they commit, yet are very helpful to others. They sacrifice themselves to the cause most dear to them, usually family or nation. Moon and water people, they need to live by the sea, lake, or river. They are strong, creative, community oriented, imaginative, and make money wherever they go. Social and communicative.

(www.mayan-calendar.com)

Songs that talk about the MOON:

Creedence Clearwater Revival: Bad Moon Rising

Sade: The Moon and the Sky

Cat Power: The Moon

Erykah Badu: Orange Moon

The White Stripes: White Moon

Fleetwood Mac: Sisters of the Moon

Phoebe Bridgers: Moon Song

beabadoobee& Oscar Lang: The Moon Song

Foster The People: A Beginner's Guide to Destroying the Moon

Melanie Martinez: MOON CYCLE

Gorillaz: The Moon Cave

Camila Cabello: Only Told the Moon

Black Moon: Who Got Da Props

Ariana Grande: Moonlight

Kali Uchis: Moonlight

Grace VanderWaal: Moonlight

Trixie Mattel: Red Side of the Moon

Rancid: Red Hot Moon

The Marias: Over the Moon

Radiohead: Sail to the Moon.

AURORA: Dance on the Moon

The Strokes: Life is Simple in the Moonlight

Savage Garden: To the Moon and Back

Cigarettes After Sex: Neon Moon

Feist: My Man My Moon

The Black Crowes: Black Moon Creeping

Beck: Blue Moon

Genesis: Dancing with the Moonlit Knight

Gil Scott-Heron: Whitey on the Moon

The Police: Walking on the Moon

Neil Young: Harvest Moon

King Harvest: Dancing in the Moonlight

Thin Lizzy: Dancing in the Moonlight

Lee "Scratch" Perry: Dreadlocks in Moonlight

Van Morrison: Moondance

Ozzy Osbourne: Bark at the Moon

ABBA: The Piper

Britney Spears: Man on the Moon

R.E.M.: Man on the Moon

Elvis Presley: Blue Moon of Kentucky

Paul and Linda McCartney: Monkberry Moon Delight

Television: Marquee Moon

Karen O: The Moon Song

The Rolling Stones: Moonlight Mile

Dead Kennedys: Moon Over Marin

Duran Duran: New Moon on Monday

King Crimson: Moonchild

Iron Maiden: Moonchild

Cat Stevens: Moonshadow

The Doors: Moonlight Drive

Lana Del Rey: Chemtrails Over the Country Club

Hank Williams: Howlin' at the Moon

The Ramones: Howling at the Moon (Sha-La-La)

Nick Drake: Pink Moon

Charley Patton: Moon Going Down

The Marcels: Blue Moon

Janis Joplin: Half Moon

David Bowie: Moonage Daydream

Ella Fitzgerald: How High the Moon

Echo and the Bunnymen: The Killing Moon

Prince and the Revolution: Under the Cherry Moon

[madewithonerib]

Ella Fitzgerald: Blue Moon (1957) | #dreams https://www.youtube.com/channel/UC63nGmKVdVhiZr_bWhJVGGg/videos https://youtu.be/_OhJ_uJceWw

Ella Fitzgerald Sings The Rodgers And Hart Song Book ℗ 1956 UMG Recordings, Inc. Released on: 1957-01-01

Producer: Norman Granz Engineer: Alan Emig Conductor, Recordingarranger: Buddy Bregman Vocalist: Ella Fitzgerald Orchestra: Buddy Bregman Orchestra Composer: Richard Rodgers Lyricist: Lorenz Hart

Who Originally Sang Blue Moon? Because "Blue Moon" is a classic standard, there is no single original singer. The tune was written in 1934 by Richard Rodgers and Lorenz Hart. The first popular vocal versions featured on the radio were performed by Muzzy Marcellino (with Ted Fio Rito's orchestra) and Kenny Sargent (with Glen Gray's Casa Loma Orchestra) in 1934. 

The classic ballad has been recorded by countless artists, but it became a massive, chart-topping pop hit in 1961 as a doo-wop song by The Marcels. 

The Marcels were an American doo-wop and R&B vocal group formed in Pittsburgh, Pennsylvania, in 1959. They are best known for their 1961 million-selling, up-tempo cover of the classic ballad "Blue Moon," which hit #1 on Billboard Hot 100. [1, 2, 3]

The Marcels: Blue Moon (1959) | fabrizio lencioni https://www.youtube.com/@Pierrotalunni/videos https://youtu.be/v0fy1HeJv80

I admit it: as rooted as I am in the R&B sound of the 40s and 50s, I still get a kick out of the Marcels' "Blue Moon". It was a great sound in 1961 and it's weathered well over all these years. The Marcels began their career in Pittsburgh, Pennsylvania in 1959. Forming at Oliver Allegheny High School, they originally consisted of Cornelius "Nini" Harp (lead and guitar), Ronald "Bingo" Mundy (first tenor), Gene Bricker (second tenor), Richard Knauss (baritone), and Fred Johnson (bass). [A racially-mixed group, Cornelius, Ronald, and Fred were black; Gene and Richard were white.] The name came from the wavy "marcelled" hairstyle (think back to early Dick Powell movies). After a year's worth of practicing, they made some demos that manager Jules Kruspir sent off to Colpix (a recording subsidiary of Columbia Pictures). These demos reflected the Marcels' love of R&B hits of years gone by, as well as established standards. After Fats Domino had had three monster hits in a row with "My Blue Heaven", "When My Dreamboat Comes Home", and "Blueberry Hill", standards became part of every group's repertoire.

[AUTHOR'S NOTE: This was written as liner notes for a project that never materialized. Might as well share it.]

Colpix was impressed, and the Marcels came to New York to record. Here's how the session went, according to A&R man Stu Phillips (this is paraphrased from his book, "Stu Who?"). It was February 1961. It was snowing; a raging snowstorm. The Marcels called that they were at the Lincoln Tunnel and would walk to Colpix (it would have been a long, but pleasant walk in June). The problem was, Stu Phillips was under orders to only work with the Skyliners. When the Marcels showed up, he had to hide them so they could rehearse. A session was arranged (quietly) for the next day (February 15). They spent the day practicing. However, there was one song that Phillips didn't like. It was the Collegians' "Zoom, Zoom, Zoom", with Fred Johnson doing a fantastic bass riff. Phillips loved the riff, but the rest of it didn't appeal to him. He thought that the background would fit in with "Heart And Soul", but they didn't know it. Then he suggested "Blue Moon", which, fortunately, Nini knew. That night they did the session. At the end, there was just ten minutes left to record "Blue Moon". They nailed it on the first take (a second take wasn't as good). One of Phillips' colleagues, Danny Winchell, was so taken with it that within a couple of hours, he had a demo made and took it to Murray "The K" Kaufman, the all-night DJ on WINS. Kaufman flipped over it, too, playing it at least 15 times that night. The next day, orders started pouring in for the non-existent record.

"Blue Moon" was a Richard Rodgers & Lorenz Hart tune that had first seen the light of day in 1933, when it was written for Jean Harlow and called "Prayer". Not used in the intended movie (neither was Harlow), Rogers & Hart kept the melody and rewrote the lyrics as the title tune from 1934's Manhattan Melodrama. That version didn't fly either, being cut from the film prior to the its release. However, it was reworked again and made it into the film as "The Bad In Every Man". Finally, in 1934, Hart came up with the fourth set of lyrics and "Blue Moon" was born. [For those of you who appreciate totally useless trivia, Manhattan Melodrama was the movie that John Dillinger had just seen when he was shot by FBI agents. "The Bad In Every Man" was sung in the film by Shirley Ross, in a hideous wig and with her skin artificially darkened to look like she belonged in front of a black band (she was the one who would sing "Thanks For The Memory" with Bob Hope in The Big Broadcast Of 1938).] Down through the years, many singers had recorded "Blue Moon", and it became a cherished standard. However, in 1961, Richard Rogers was aghast at the treatment the Marcels gave it, taking out newspaper ads urging people not to buy the record! His pleas fell on deaf ears (I suppose he would have agreed!) and, driven by Fred Johnson's frenetic bass riffs (which he based on the Collegians "Zoom, Zoom, Zoom"), "Blue Moon" zoomed to the top of the Pop charts. [NOTE: Although this is what I'd originally written, when I was questioned about the newspaper ads statement, I had no idea where I'd come up with it. When I started digging, I found no ads, but there was an article in the July 10, 1982 Billboard, based on an interview with Richard Rodgers' widow. She said, speaking of Peggy Lee's version of "Lover", that "Dick thought it was wild and wonderful. He didn't object at all. He was always open to completely new sounds." The writer went on to say "She also says Rodgers shared a similar feeling with the Marcels' doo-wop rock version of "Blue Moon, a No. 1 record in 1961." So is this true? It could be; whether he actually liked it or not, it brought a lot of royalty money into his coffers. On the other hand, she might have just been portraying her husband as an open-minded individual. I prefer to believe that, for whatever reason, he had no problem with it.]

The Marcels' second session was on March 16. This time they recorded "Two People In The World", "A Fallen Tear", and "Sweet Was The Wine". None of these was released on a single. "Teeter Totter Love", "Over The Rainbow", and "Crazy Bells" were recorded at a second session that month. The Marcels' next session, in April 1961, saw them record "Summertime", as well as "You Are My Sunshine", "Find Another Fool", "Footprints In The Sand", "Hold Up", and "Loved Her The Whole Week Through". Released that same month, "Summertime" couldn't recapture the magic, only rising to #78 on the Pop charts.

In the summer of 1961, Colpix released the Blue Moon album, Almost all its songs were oldies that the guys had grown up singing. At about the same time, their third single was issued, but "You Are My Sunshine" sank without a trace. The Marcels had issued three singles and an LP, based on 18 songs recorded in under two months.

At this point, both Gene Bricker and Richard Knauss left. Fred Johnson brought in his brother, Allen, as baritone, and tenor Walt Maddox replaced Bricker. The Marcels started the next phase of their career as an all-black group. On September 1, they recorded another old standard: "Heartaches". Once again, Fred Johnson poured his mighty bass voice into the arrangement and this one made it to #7. Other songs from that session were "My Love For You", "Flowerpot", and "All Right, Okay, You Win". By their October session, there had been another defection: Bingo Mundy left the group. He doesn't seem to have been immediately replaced, although I get the feeling that there were many singers in and out of the group from then on. At that session, they recorded "Don't Cry For Me this Christmas", "Merry Twist-Mas", and "Twistin' Fever".

In late 1961, the Marcels became part of the cast of Twist Around The Clock, in which they sang "Blue Moon" and their latest Colpix release, "Merry Twist-Mas". The movie, which also featured Chubby Checker and Dion, was essentially an updated Rock Around The Clock. Released to first-run theaters in time for the holidays, it was paired with The Three Stooges Meet Hercules, for a January 26, 1962 general release. On December 21, there was another session, at which the guys recorded "My Melancholy Baby" and "Really Need Your Love". Released that same month, "My Melancholy Baby" became their last chart hit, although it only reached #58. On April 16, 1962, the Marcels recorded "That Old Black Magic", "Don't Turn Your Back On Me", and "Give Me Back Your Love". A July 23 session produced "Lollipop Baby", "Friendly Loans", and "Blue Heartaches". Sometime after this session, lead singer Cornelius Harp left and Walt Maddox moved up to the front spot. Their last Colpix efforts occurred in 1963, when they recorded "I Wanna Be The Leader" and "One Last Kiss" at one or two undated sessions. "I Wanna Be The Leader" was kind of a take-off on "Mr. Bass Man", which had come into being because of "Blue Moon." Colpix continued to issue Marcels records through the middle of 1963, but nothing clicked. By that time, however, almost all the discs contained tracks that had been in the can for a year or two.

Fred Johnson and Walt Maddox kept the group going and, as the decade wore on, the Marcels became a quartet consisting of Walt Maddox (lead), Billy Herndon (tenor), Richard Harris (baritone), and Fred Johnson (bass). (Herndon and Harris had been members of Pittsburgh's Altairs.) After Colpix, they recorded for 888 ("How Deep Is The Ocean"/"Lonely Boy") in 1964, and then for Chartbound in 1967: "Letter Full Of Tears" (with Billy Herndon in the lead)/"Tell Me." This group, with Walt Maddox on lead, recorded a song called "Bells" to be used in the movie "I'll Take Sweden" (starring Bob Hope, Dina Merrill, Frankie Avalon, and Tuesday Weld), released in June 1965.

The Marcels: How Deep Is The Ocean (1964) | 4Jukeboxsaturdaynite https://www.youtube.com/@4JUKEBOXSATURDAYNITE/videos https://youtu.be/CDJvItpvOpY

[tavolgisvist]

1 Mr. Bassman by Johnny Cymbal, 1963

(Bop-bop-bop singing by bass voice)

Mr. Bass Man, you've got that certain somethin' Mr. Bass Man, you set that music thumpin' To you it's easy when you go 1-2-3, d-d-be -bop-a-bop (Bass voice: You mean be -be -BOP-p-p-bop bop bop…) Yeah!

Mr. Bass Man, you're on all the songs Be -did-did-a-boom-boom, be -dit-dit-a-boom-boom-bom Hey Mr. Bass Man, you're the hidden King of Rock 'n' Roll, d-d-be -bop-a-bop (Bass voice: No no, be -be -BOP-p-p-bop bop bop…)

It don't mean a thing when the leader's singin' Or when he goes "Hi-yi-yi-yi-yi-yah" Hey Mr. Bass Man, I'm askin' just one thing: Will you teach me? Yeah, will you sing? 'Cause Mr. Bass Man, I want to be a bass man too, d-d-be -bop-a-bop (Bass voice: Try this, be -be -BOP-p-p-bop bop bop…) Hey Mr. Bass Man, I think I'm really with it Be -did-did-a-boom-boom, a-boom-boom-be -dit-dit-dit-dit C'mon, Mr. Bass Man, now I'm a bass man too, d-d-be -bop-a-bop (Bass voice: That's it, be -be -BOP-p-p-bop bop bop…)

2 I Wanna Be The Leader by The Marcels, 1963

Everyone's talking about Mr. Bassman, Everyone's talking about- Me, that's me they're talking about! Everyone's singing about Mr. Bassman, Everyone's singing about- Me, that's me they're singing about, watch me-

Now you!

All over 'cause,

I wanna be the leader, leader of the group You'll never find me singing d-d-doo d-d-d-doo I wanna sing the words that's written in my heart So you can understand that you can be a part

All over 'cause

What would Mary say, if I said ring-aling-ading dong What would Amy do, if she had attitude, Don't forget about Paula, she's so fine But if I sing those crazy words, she'll think I lost my mind

I wanna be the leader, leader of the group You'll never find me singing d-d-doo d-d-d-doo I wanna sing the words that's written in my heart So you can understand that you can be a part

Listen now

All over like

Our day will come, don't go away little girl; But if it don't, one broken heart for sale You're the reason I'm living, you really got a hold on me, Every time I sing sing sing, I

I wanna be the leader, leader of the group You'll never find me singing d-d-doo d-d-d-doo I wanna sing the words that's written in my heart So you can understand that you can be a part

All over 'cause

I wanna be the leader, What's the matter with what I say?

[nocoloursanymore]

The Marcels - Blue Moon

[tfc2211]

Visit Original Link

Anthony Newley - Pop Goes The Weasel             The Marvelettes - Please Mr. Postman                               The Shirelles - Will You Love Me Tomorrow         Sam Cooke - Cupid   Ben E. King - Spanish Harlem         The Capris - There’s A Moon Out Tonight (1959) Etta James - At Last Mar-Keys - Last Night The Miracles - Shop Around           Lee Dorsey - Ya Ya   Chubby Checker - Lets Twist Again           Chris Kenner - I Like It Like That, Part 2 Del Shannon - Runaway     Ricky Nelson - Hello Mary Lou       Bobby Vee - Take Good Care Of My Baby The Marcels - Blue Moon     Ray Charles and His Orchestra - Hit The Road Jack Bobby Lewis - Tossin' And Turnin'   Dion - Runaround Sue The Tokens - The Lion Sleeps Tonight Helen Shapiro - Walkin' Back To Happiness                               The Shirelles - Dedicated To The One I Love (1958)               Edith Piaf - Non, Je Ne Regrette Rien The Dave Brubeck Quartet - Take Five (1959)

[titleknown]

...Okay, on Wikipedia, I found out about this cover of Al Bowly’s “Heartaches” by the Marcels in 1961.

Needless to say “Everywhere At The End of Time would have been very different had they used this version.

[mrs-jake-blues]

Someone should edit the opening of New Vegas and have it have the Marcels version of Blue Moon instead