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Thornton's recording of "Hound Dog" is credited with "helping to spur the evolution of black R&B into rock music". [9] Brandeis University professor Stephen J. Whitfield, in his 2001 book In Search of American Jewish Culture, regards "Hound Dog" as a marker of "the success of race-mixing in music a year before the desegregation of public schools was mandated" in Brown v.
Hound dog, hound dog, hound dog (You ain’t nothin’ but a) Player gettin’ valeted around in that ho whip Two fingers up, one down with my toes ten Flewed out with my boobs out, put a cork in it
The song's lyrics refer to a man who was an "underwhelming lover" [3] whom Doja Cat feels "never deserved her attention". [4] Produced by Rogét Chahayed and Yeti Beats, it samples Shonka Dukureh's recording of the song "Hound Dog", which was written by Jerry Leiber and Mike Stoller, first recorded by Big Mama Thornton (who Dukureh plays in the film) in 1952 and notably covered by Presley.
English: A chord chart for beginner ukulele players that demonstrates the correct fingerings to play the 36 basic chords. Whereas most chord charts display the fretboard vertically to save space, here the fretboard is intentionally horizontal (as how a ukulele is held) to make it easier for beginners (the target audience of this chart) to use.
In 1952, the partners wrote "Hound Dog" for blues singer Big Mama Thornton, [12] which became a hit for her in 1953. [3] The 1956 Elvis Presley rock and roll version, which was a takeoff of the adaptation that Presley picked up from Freddie Bell 's lounge act in Las Vegas, [ 13 ] was an even bigger hit. [ 14 ]
The single was released on July 13, 1956, backed with "Hound Dog". [1] Within a few weeks "Hound Dog" had risen to #2 on the Pop charts with sales of over one million. [ 2 ] Soon after it was overtaken by "Don't Be Cruel," which took #1 on all three main charts; Pop, Country , and R'n'B . [ 1 ]
As Taylor's debut album, Hound Dog Taylor and the HouseRockers was the first recording issued on the Alligator label. The label was founded by Bruce Iglauer for the specific purpose of releasing an album of Taylor's music after he had been unable to persuade Bob Koester, then his boss at Delmark, to record Taylor.
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