Allan Sherman - My Son, The Nut ( 1963) MP3/Flac
Allan Sherman - My Son, The Nut ( 1963)
Genre: Comedy Songs | MP3 128 Kbps | 30 Mb | 34:40
Around 1963, Sherman is said to have theorized that in order to take his career to the next level, he had to get people to stop thinking of him just as a guy who did Jewish-themed material. There's barely a trace of it in his third album, which was turned into a best-seller largely on the strength of one song. Hello Muddah, Hello Fadduh!, set to the tune of Dance of the Hours, was his biggest hit ever, and the number with which his name would forever be connected. The King Louie number is often cited by songwriters as the cleverest lyric on any of Sherman's records.
01.You Went The Wrong Way, Old King Louie (3:30)
(Parody of "You Came A Long Way (From St. Louis)" by Ray McKinley & His Orchestra)
02. Automation (3:24)
(Parody of "Fascination" Jane Morgan)
03. I See Bones (3:19)
(Parody of "C'est Si Bon (It's So Good)" by Eartha Kitt)
04. Hungarian Goulash No. 5 (2:37)
(Parody of "Hungarian Dance No. 5" by Johannes Brahms)
05. Headaches ' with Tom Greenleigh (2:55)
(Parody of "Heartaches" by Ted Weems & His Orchestra)
06. Heres To The Crabgrass ' with Jacqueline Ward (3:16)
(Parody of Percy Grainger's "Country Gardens")
07. Hello Mudduh, Hello Fadduh! (A Letter From Camp) (2:55)
(Parody of Amilcare Ponchielli's "Dance Of The Hours")
08. One Hippopotami (3:34)
(Parody of "What Kind Of Fool Am I?" by Sammy Davis Jr.)
09. Ratt Fink (2:24)
(Parody of "Rag Mop" by The Ames Brothers)
10. Youre Getting To Be A Rabbit With Me (1:53)
(Parody of "You're Getting To Be A Habit With Me" by Bing Crosby w/ Guy Lombardo)
11.Eight Foot Two, Solid Blue (2:24)
( Parody of "Five Foot Two, Eyes Of Blue" by Gene Austin)
12. Hail To Thee, Fat Person (1:45)
(uses the tune of "America The Beautiful" in the background)
Short (08:12) NPR programme about AS.
Allan Sherman: Beyond 'Hello Muddah, Hello Fadduh' by Jesse Green.
NPR: All Things Considered, March 14, 2006
Popular music has a long tradition of ethnic humor. In the early 1960s, the tradition was being carried on by one particularly talented and funny man, Allan Sherman.
Sherman's song "Hello Muddah, Hello Fadduh! (A Letter from Camp)," a classic Jew-out-of-water song, propelled Sherman to the top of the charts. It was about the boy who didn't fit into the great American story of the woods, the lake, the poison ivy, the sports -- and the escape from parents. He didn't want to escape from them.
The musical humorist took folk songs and replaced their lyrics with satires of Jewish American life. In doing that, he offered a perfect snapshot of what it meant to assimilate. But as he released more albums, his songs began to suggest that he was uncomfortable with the role he had created for himself.
08:12, 8 MB @ 128 kbps
“ Allan Sherman began moving cautiously away from the explicitly Jewish humor of his debut album on its follow-up, My Son, the Celebrity, and he all but abandoned it for his third long-player, 1963's My Son, the Nut. However, if Sherman was less eager to poke fun at Jewish-American culture as he grew more popular, his need to kvetch about the absurdities of modern life was stronger than ever, and My Son, the Nut unexpectedly proved to be Sherman's masterpiece, featuring 12 superb song parodies that take aim at the perils of suburbia (\"Here's to the Crabgrass\"), advancing technology (\"Automation\"), advertising (\"Headaches\"), and lots more. Sherman also indulges his passion for the quirks of the English language on \"One Hippopotami,\" vents his spleen on \"Rat Fink,\" and encounters a fanciful half-woman half-bunny on \"You're Getting to Be a Rabbit with Me.\" But the album's two biggest laughs come from Sherman's biggest hit, \"Hello Muddah, Hello Fadduh (A Letter from Camp),\" based in part on his own son's unpleasant experiences at summer camp, and the side-splitting closer, \"Hail to Thee, Fat Person,\" in which Sherman explains to people who are \"skinny or in some other way normal\" how he gained weight \"as a public service.\" Lou Busch's witty and full-bodied orchestrations are the icing on the cake for what would prove to be the best and most popular album of Sherman's career.
“ By \"My Son, the Nut\" in 1963, Sherman had begun to appeal to a larger audience, and adjusted both his subject matter and his choice of parody material to the popular audiences of the day.
His pointed parodies of classical and popular tunes savaged summer camp (Hello Muddah, Hello Fadduh to the tune of Ponchielli's Dance of the Hours), encroaching automation in the workforce (Automation to the tune of Fascination), space travel (Eight Foot Two, Solid Blue to Five Foot Two, Eyes of Blue), the exodus to the suburbs, (Here's to the Crabgrass to the tune of English Country Garden), and his own bloated figure (Hail to Thee, Fat Person, which blames his obesity on the Marshall Plan).
Sherman's large body of parody work was brilliant on many levels: His choice of material was itself funny, his lyrics were self-contained and consistently funny (and usually led to a climactic punchline), and yet spookily paralleled the sounds of the original, and his choice of topics was always timely and relevant. Finally, his humor was charming, self-deprecating, insightful, and never seemed to be trying too hard. His brilliance inspired a new generation of developing parodists such as \"Weird Al\" Yankovic, who pays homage to Sherman on his own first LP.
Hello Muddah, Hello Fadduh is the background music to clips from some action film