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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.
"Gee, But You're Swell" was adopted by Australian television performer Graham Kennedy as his theme song for In Melbourne Tonight. The song is used as background music throughout the 1937 Warner Bros. cartoon Porky and Gabby , and the 1938 cartoon Daffy Duck in Hollywood .
Teachers, Don't Try to Be Cool – A teacher named Mr. Goodman tries to fit in with his students and acts as if he doesn't play by the rules. This usually gets him hurt though. Teen Rage – Three teenagers created a band called Teen Rage against Parents and Teachers.
"Super Fly Meets Shaft" is a break-in record co-written by Dickie Goodman and recorded by John & Ernest. It consists of lines from popular R&B/soul songs of the day, which tell a story about the main characters from the films Super Fly (1972) and Shaft (1971).
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...