Download Breaking Records: 100 Years of Hits by William Ruhlmann PDF

By William Ruhlmann

IBreaking documents offers a story heritage of yank renowned track and the pop song undefined. Organised by way of decade, each one bankruptcy provides an summary of the most important advancements, technologically, commercially, and musically, for all sorts of renowned track making. Technological advancements, from the beginning of radio and the phonograph to MP3 and burning CDs, are mentioned on the subject of how they affected musicians and the itself. Key performers and their significant hits are profiled by way of decade. it is a compelling tale of ways enterprise and paintings have interacted, and occasionally clashed, via a century of recent musical advancements.

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The Gang’s All Here,” recorded by Irving Kaufman and the Columbia Quartet for Columbia; “Just a Baby’s Prayer at Midnight (For Her Daddy Over There),” recorded by Henry Burr for Victor and reportedly a million seller; “Hello Central, Give Me No Man’s Land,” introduced by Al Jolson and recorded by him for Columbia; “Over There” again in a recording by Enrico Caruso for Victor; and, two weeks after the November 11 armistice, Irving Berlin’s “Oh, How I Hate to Get Up in the Morning” from the musical Yip, Yip, Yaphank , recorded by Arthur Fields for Victor.

The first radio station with scheduled programs, Pittsburgh’s KDKA, went on the air November 2, 1920, broadcasting the election returns that made Warren G. Harding the new president. Detroit’s WWJ soon followed, and by 1922 there were five hundred radio stations in the country providing the kind of entertainment in the parlor that people used to have to go to a vaudeville theater to hear. In 1926 the first radio network, NBC, was launched, followed a year later by CBS. Radio truly hurt vaudeville, but it was also perceived to hurt record sales, a notion that seems absurd today, when radio is viewed as the chief means of promoting recorded music.

Lewis exemplified the increasing willingness of stage performers to undertake concurrent recording careers. The same year as his emergence on records, he was joined by another vaudevillian who crossed over to the legitimate stage, Frank Crumit. Crumit, born in September 1889 in Jackson, Ohio, turned to vaudeville with a ukulele after graduating from the University of Ohio. His Broadway debut came on May 4, 1920, at the Casino Theatre in Betty, Be Good, but he really made his mark in The Greenwich Village Follies of 1920, which opened on August 30.

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