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The song was first recorded by Bobby Timmons in his debut album This Here Is Bobby Timmons (January 1960), and shortly thereafter by the Cannonball Adderley Quintet on the album Them Dirty Blues (February 1960) and by Art Blakey and the Jazz Messengers on the album The Big Beat (March 1960), with Timmons as pianist on both recordings.
The song "Swinging the Alphabet" is sung by The Three Stooges in their short film Violent Is the Word for Curly (1938). It is the only full-length song performed by the Stooges in their short films, and the only time they mimed to their own pre-recorded soundtrack. The lyrics use each letter of the alphabet to make a nonsense verse of the song:
The AllMusic review by Al Campbell awarded the album 4 stars, stating: "Recorded in early 1960, Them Dirty Blues contains two classic jazz compositions." [2] The Penguin Guide to Jazz awarded the album 3⅓ stars, noting: "Them Dirty Blues debuts Nat's 'Work Song' in the band's book, as well as Bobby Timmons's 'Dat Dere'."
A. A Dios le Pido; A la Nanita Nana; A la Primera Persona; A las Barricadas; A Medio Vivir (song) A Palé; A Pedir Su Mano; A Puro Dolor ¿A quién le importa?
The following is the chart of the International Phonetic Alphabet, a standardized system of phonetic symbols devised and maintained by the International Phonetic Association. It is not a complete list of all possible speech sounds in the world's languages, only those about which stand-alone articles exist in this encyclopedia.
"Dat" is a song by Jamaican singer Pluto Shervington, released as a single by him, on the Opal Records record label, in 1976. The single reached number 6 in the UK Singles Chart on 6 March 1976, staying in the charts for a total of eight weeks. It was Shervington's biggest hit in the UK. [1]
The International Phonetic Alphabet, or IPA, is an alphabetic system of phonetic notation based primarily on the Latin alphabet. It was devised by the International Phonetic Association as a standardized representation of the sounds of spoken language. [1] The following tables present pulmonic and non-pulmonic consonants.
The song opens and ends with the heavy sounds of a timpani being struck, which reduces in intensity during other sections. [13] Lambert says that the timpani is evocative of "a throbbing, aching heart" and is "soon joined by other instruments and a brief statement of an inverted arch figure in the flute" which recurs later in the piece. [ 2 ]