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Richard Dorian Goodman (April 19, 1934 – November 6, 1989), [1] was an American music and record producer. He is best known for inventing and using the technique of the "break-in", an early precursor to sampling, that used brief clips of popular records and songs to "answer" comedic questions posed by voice actors on his novelty records.
"Hurt" is a 1954 song by Jimmie Crane and Al Jacobs. "Hurt" was originally performed by Roy Hamilton, whose version peaked at number eight on the R&B Best Seller chart and spent a total of seven weeks on the chart. [1] A version by Ricky Denell also received considerable radio airplay in 1954 on pop radio stations.
It should only contain pages that are Dickie Goodman songs or lists of Dickie Goodman songs, as well as subcategories containing those things (themselves set categories). Topics about Dickie Goodman songs in general should be placed in relevant topic categories .
"Hurt" is a song by American industrial rock band Nine Inch Nails from its 1994 studio album The Downward Spiral—where it is the closing song on the album—written by Trent Reznor. It was subsequently released on April 17, 1995, as a promotional single from the album, wherein it was issued straight to radio. [ 3 ]
This record is a parody of the 1975 summer blockbuster film Jaws, with Goodman interviewing the shark (whom he calls "Mr. Jaws"), as well as the film's main characters, Brody, Hooper, and Quint. Goodman makes full use of his practice of "break-in" music sampling, in which all of the interview answers are lyrics from popular songs from that year.
The song has been recorded by many artists. It was the signature theme of the 1967 film Guess Who's Coming to Dinner, performed by nightclub singer Jacqueline Fontaine on camera, as well as over the opening and closing credits. [4] Bette Midler included the song in the film Beaches (1988) and it appears on the soundtrack album.
The record is a satire of the 1973 energy crisis in the United States, and was moderately successful; it peaked at #33 on the Billboard Hot 100 and became the first Top 40 hit for Goodman as a solo artist (Goodman's other records throughout the 1960s had mostly fallen just short of the top 40 and his 1950s works were all collaborations). The ...
Ian Dove of the New York Times wrote, "Mr. Goodman has been allowed to bring all his influences into the album, and as a result we get a fully rounded portrait of the artist. It is a deceptively casual album—'laid back' in the argot—recorded in Nashville and New York, but which has much strength and realism in its simplicity...