|A||Down Among The Sleepy Hills Of Tennessee
Written-By – George Meyers*, Joe Young , Sam Lewis
|B||Swingin' Down The Lane
Written-By – Gus Kahn, Isham Jones
Swingin' Down The Lane. Written-By – Gus Kahn, Isham Jones. Companies, etc. Record Company – The New York Recording Laboratories. Side A Mx. 1386-2 or -3 was recorded ca.
Manhattan Imperial Orchestra. Variations: Viewing All Manhattan Imperial Orchestra. Manhattan Imperial Orch.
Swingin' Down the Lane. The title, taken from the 1923 Isham Jones hit that leads off the collection, signals the album's jaunty tone, on which a big band works its way through danceable renditions of standards by Irving Berlin, Frank Loesser, George and Ira Gershwin, Rodgers & Hart, and Jerome Kern and Oscar Hammerstein II, among others. Maltby, who came up as an arranger, balances the parts between the horns and reeds, even introducing interesting percussion parts in places to keep things lively. In particular, a xylophone often snakes between the wood and the brass, and bells even turn up here and there.
Down Among the Dead Men" is an English drinking song first published in 1728, but possibly of greater antiquity. The song begins with a toast to "the King" and continues with obeisances to the god Bacchus which become increasingly less subtle descriptions of the benefits of alcohol in procuring opportunities for sexual intercourse. At the conclusion of each stanza of the song, those who deny the song's declarations are condemned to lay "down among the dead men," a euphemism for drunken unconsciousness.
Jazz, Pop. Musician: Manhattan Imperial Orchestra. Album's title: Down Among The Sleepy Hills Of Tennessee, Everything Is . Bob Haring's Velvetone Orchestra - Down Among The Sleepy Hills Of Tennessee. Jazz, Pop. Paul Ash And His Granada Orchestra - Rememb'ring, Betty. Sleepy John Estes - The Legend Of Sleepy John Estes. Blues Jack Hylton And His Orchestra - The Shepherd Of The Hills, Rhythm Is The . .
Dance" section, pitched down a minor sixth and at a reduced speed. It was sampled by David Vorhaus Early orchestra hits were short in duration (often less than a second) both due to the nature of the sound (a staccato note) and the restrictions on bit rates and depths Fairlight produced a number of orchestra hit samples, including a chord version (TRIAD), a percussion version (.
Album: Crinoline Days, 2005.