Resources

Music for Swing Dancing

The Hepcats is an organization dedicated to the furtherance of swing dancing and swing music.

Want more information about swing music such as Big Band, Jump Blues, R&B, etc?

Check out the info below!

General Information

• What is Swing Music?
• Why is the Music Important?
• What Kind of Recorded (DJ) Music is Played
  at Hepcats events?
• Should I Attend Swing Dances With Live Music?
• Where Can You Get Good Swing Music?
• A Note About Swing Music Recommendations

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What is Swing Music?

The exact definition of "Swing" is tough to define because of its subjective nature.  (For this web page, a broad definition of swing music is used.)  Swing is best described as the particular way a piece of music is played that gives it a certain vitality and energy.  

Without getting too technical, in Swing music the musicians play (or sing) some of the notes late, and then catch up in the next beat or two. This was referred to as "swinging the beat", and hence the name was probably born.  Swing also has a rhythm-driven quality that emphasizes subdivisions of the beat, which often adds a horizontal feel and type of "pulse" to the music.

For the classic era of Swing (about 1935-1949), the music was a form of jazz that normally used arrangements and was rehearsed, but still allowed room for interpretation and improvisation.  Of course, it was the Big Bands of the "Swing Era" that made swing music famous and popular all over the world.  But smaller type combos, such as the smaller jump blues bands of the late 1940's and 50's, also had a big part in the overall contribution of what is considered swing music.

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Why is the Music Important?

What Kind Of Recorded (DJ) Music Is Played At Swing Dances?

Normally (and hopefully!), there is a variety of swing music played at swing dances, but the music played will depend on a number of factors.  For example, a Lindy Hop event will normally have much different music than a dance for west coast swing dancers.  And also note that the music played at swing dances evolves over time.        

Just as the swing dance community has evolved since the beginning of the so called "swing movement" of the mid 1990's, so has the music one hears at swing dances.  In the mid 1990's, the trend was towards swing music from the newer or retro swing bands (i.e. Big Bad Voodoo Daddy, Royal Crown Revue, etc), and a lot of that music was songs of a fast or very fast tempo.

As swing dancers learned more about different types of swing music and began to appreciate the experiences of dancing to different styles and tempos of swing music, a greater variety of music began to be played at swing dances, and certain trends developed.  For a time, there was a trend toward the slower, more "bluesy/groove" types of music, perhaps as a "correction" to the faster retro swing music.  Recently, there has been a definite and certainly welcomed trend towards going back to the "roots" of swing dancing, i.e. music from the 1930's and 1940's in a variety of tempos.  Generally speaking, swing music from the 1930's and 40's, i.e. the  classic Big Band  and jump blues music, should be better represented and played more at swing dance venues.  

A note of caution.  As previously noted on this web site, improvisation, creativity and innovation are the hallmarks of American dancing.  Much like swing dancing, it is possible to adapt and develop swing dancing in light of the genres of more recent musical influences.  But at some point, if the music played at swing dances is not really swing music, then the dance itself no longer is true to the style or spirit of Lindy Hop or Balboa.  There is a lot of music "out there" in 4/4 time that you can swing dance to; but that doesn't make it swing music.

In other words, always remember your roots, but note that it's fun to try out new music!

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 Should I Attend Swing Dances With Live Music? 

Where Can You Get Good Swing Music? 

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A Note About Swing Music Recommendations

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Info On Music For Swing Dancing

Big Band

Most people have heard of the big band sound, a music style primarily from the 1930's and 1940's. Unfortunately, many people (to include some swing dancers) associate the Big Band sound exclusively with the commercially oriented music of Glenn Miller, the "champagne" music of Lawrence Welk and the New Year's Eve broadcasts of Guy Lombardo. 

Big Band is a style of jazz music that normally refers to a group of about 10 or more musicians.  Although the number  may vary, a traditional Big Band orchestra consists of about 15 musicians:  4 saxophones, 4 trumpets, 4 trombones, and a 3 piece rhythm section (normally consisting of  piano, drums, and an upright bass).  This is in addition to the band leader, who also normally plays an instrument, i.e. the clarinet (Benny Goodman), the piano (Duke Ellington, Count Basie), the trumpet (Harry James), etc., and any vocalists.   

Musically, Big Band was the fusion of American jazz, ragtime and Charleston styles of music (similar in development to swing dancing).  Big Band is usually identified in jazz history to the 1930's and 1940's classic era of swing.  During that time, most of the jazz groups were Big Bands and they played a robust, invigorating style of swing.  Swing was dance music, yet it offered individual musicians a chance to improvise musically fresh, technically complex solos.  

It may be technically incorrect to call all Big Bands "swing",  just like all "swing" isn't performed by Big Bands.  But the big bands led by Jimmie Lunceford, Benny Goodman, Chick Webb, Duke Ellington, Erskine Hawkins, Earl Hines, Harry James, Lucky Millinder, Count Basie, Glenn Miller, Tommy Dorsey, Glen Gray, etc. were extraordinarily popular in the 1930's and 40's and the terms have become interchangeable in the public eye.  The two are forever tied together, given that they matured simultaneously. 

It is important to keep in mind that there were definite distinctions between Big Bands in the 1930's and 40's.  Some bands displayed hard-driving rhythmic qualities and solo improvisations, while other bands conveyed a less pronounced swing feeling.  The former bands were often called "swing bands" or "hot bands" (e.g. Jimmie Lunceford, Count Basie, Duke Ellington, Benny Goodman, Chick Webb); while the latter were called "sweet bands" (e.g. Glenn Miller, Guy Lombardo).

It should also not be overlooked the many disadvantages that African-American big bands had as compared to white bands, especially in the 1930's and 40's, because of racism.  African-American bands were unable to obtain lucrative bookings at big hotels for long residencies or regular appearances on radio shows.  They normally toured constantly, in a series of one night stands.  African-American bands were often not as commercially marketed nationally by record producers and radio stations, as were lesser performing white bands.  White bands would often cover songs by African-American bands and achieve greater commercial record sales and exposure, i.e. Glenn Miller's cover of Edgar Hayes' "In the Mood" and Erskine Hawkins' "Tuxedo Junction".  (To be fair, it should be noted that almost all bands in the big band era covered each other's songs to some degree.)

The golden age of the Big Band era, from about 1935-1949, was unique in that it was the music listened to by all generations in the 1930's and 40's, young and old alike.  Big Band swing was the popular and dominate music of the era, not only for radio, but the movies, in nightclubs, at high school and college dances and parties, and at the local ballroom.  In the early 1940's, it is estimated that there were over 400 bands (some where known as "regional" or "territory" bands), criss-crossing the country, playing night after night of one night stands, looking for that elusive "break". 

It was the hundreds of ballrooms that stretched from coast to coast that gave the big bands their most consistent and hospitable venues.  Unfortunately, many of these ballrooms were torn down (especially in the 1960's as a result of the decline in partner dancing and the beginning of urban renewal) to make room for retail and housing developments.  Many ballrooms with historical significance have survived, such as the Surf Ballroom in Clear Lake, Iowa, famous as the last concert location for Buddy Holly, Richie Valens and J.P. Richardson (The Big Bopper) before dying in a plane crash on February 3, 1959.  

Many ballrooms in and near the bigger cities could accommodate thousands of dancers.  These included ballrooms such as the Savoy and Roseland Ballrooms in New York City; Glen Island Casino Ballroom, New Rochelle, NJ; the Glen Echo Park Spanish Ballroom in Bethesda, MD; the Palladium and Palomar Ballrooms in Los Angeles, CA; the Rendezvous Ballroom in Orange County, CA; and the Casino Ballroom on Catalina Island, CA.  

More common were the many ballrooms and dance halls found in medium and smaller cities and towns that might occasionally host one of the "famous" big bands but normally booked one of the hundreds of less famous regional or territory bands.  For the central Kentucky and surrounding areas, such establishments included the Joyland Ballroom in Lexington, KY; Casa Madrid Ballroom, Louisville, KY; High Bridge Park Pavilion, Wilmore, KY; the Music Hall Ballroom and Moonlight Gardens at Coney Island in Cincinnati, OH (note that the present Moonlight Gardens was once the walled ballroom, with the front facade much in its original condition; and that Moonlight Pavilion, where Big Band dances now take place, was once part of food service buildings); and the Indiana Roof Ballroom in Indianapolis, IN; to mention just a few. 

Generally speaking, the Big Bands were dance bands and catered to dancers.  A typical night of music with a big band would include not only their "hot" and popular numbers (songs many band members called "killer dillers"), but also some ballads and even an occasional waltz. 

There are a number of Big Bands that perform today.  Locally, the Kentucky Jazz Repertory Orchestra (KJRO), co-directed by University of Kentucky School of Music professors Dick Domek and Miles Osland, is one of the most highly skilled big band orchestras in the United States today when it comes to recreating authentic big band, swing-era arrangements. 

Regionally, the Pete Wagner Orchestra and Lee's Junction Big Band (both based in Cincinnati) and the Tom Daugherty Orchestra (based in Dayton) are all good bands.  Nationally, several big bands tour and perform, to include the Glenn Miller Orchestra, the Tommy Dorsey Orchestra, the Les Brown Orchestra, the Count Basie Orchestra, among others.    

(For more a comprehensive listing and information on the Big Bands, see the American Big Bands Database.)

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Big Band Music Recommendations: CDs

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The Classic Big Band Sound

The Great Big Bands

The Jimmie Lunceford Orchestra.  The Jimmie Lunceford Orchestra was one of the top bands of the Big Band era.  Lunceford's Orchestra was very  popular and entertaining, but in many respects, it is vastly under appreciated today.  Lunceford had a formal background in music and was also a fine athlete and coach early in his career.  His combined musical talents, discipline and drive led to the creation of a band that contemporary observers rated near the top with Duke Ellington and Count Basie.  Although Lunceford's band could not boast of a top soloist, the individual band members and ensembles were top notch and always well rehearsed.  In addition, Lunceford used great musical arrangements, particularly those written by the famous Sy Oliver (who was eventually hired away by Tommy Dorsey) and Eddie Durham (who went on to arrange for the Count Basie Orchestra).

Lunceford's orchestra was a "show" band and they unabashedly played music that was designed to please swing dancers (as well as listeners).  The band used the visual as well as the music to entertain, playing while the saxophones swayed from side to side, the trombones sliding in an opposite direction and the trumpets tossed in the air, caught just in time to start a riff.

Lunceford's band was widely known during the swing era and it's showmanship and appearance was often imitated.  A good example of this imitation is Glenn Miller Orchestra's performance in the movie "Orchestra Wives" (see photo right).

Lunceford died unexpectedly in 1947 while the band was touring in the northwest United States and the orchestra broke up permanently in 1949.  Lunceford's early death, and because the band's superb showmanship is lost on record, has meant that a lot of people don't realize that the Jimmie Lunceford Orchestra belongs in the pantheon of swing with Basie and Ellington.  

An interesting side note.  Some jazz music critics of the day lambasted Lunceford's orchestra as too "entertaining", foreshadowing the day when many jazz musicians looked at "entertaining" the audience or playing for dancers as unworthy of their profession (i.e. "if you're dancing, your not paying attention to me and my music").  Perhaps this is part of the reason why jazz music went from over 90% of music sales in the 1940's to about 3% today and why modern jazz is sometimes viewed as a music form enjoyed only by elitists and academic types.

There are lots of CDs on the market with Lunceford's music.  Selected digitally re-mastered CD's are the best source for Lunceford's music.  A couple of suggestions. 

Lunceford Special: 1939-1940, Jimmie Lunceford Orchestra.  A great CD, with overall good sound quality considering the technology of the time.  "Lunceford Special" is just one of many great songs from this CD.   

There are a few excellent re-creations of Lunceford's recordings in the Time-Life "Swing Era" collection (noted below), most of them recorded with past members of Lunceford's band.  The Time-Life "Swing Era" collection is worth acquiring for those recordings alone!  In addition, Oscillatin' Rhythm: Great Swing Hits in Hi-Fi, highlights a couple of Lunceford's greatest tunes, "For Dancers Only" and "'T'aint What You Cha Do, It's the Way That Cha Do It".

YouTube clip of a 1936 movie short of  the great Jimmie Lunceford Orchestra.  Of note is the band playing "Rhythm Is Our Business" and "Nagasaki".

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There are numerous Fletcher Henderson CD's on the market.  A good source for Henderson's music is the 3 CD box set "The Fletcher Henderson Story", which also has very informative liner notes.

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In 1942, Hampton's orchestra's released Flying Home, which was a big hit and provided the band instant success.

Throughout the rest of his life, Hampton was not only an accomplished orchestra leader and musician, but a distinguished jazz music educator.  In 1987, the University of Idaho school of music was renamed for Hampton. 
 

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Ken Johnson and The West Indian Band.  Kenrick Reginald Huymans Johnson was born in British Guiana in 1914. The Johnson family was part of the upper class of the British colony, and his father was a prominent doctor in the community. He attended Queens College in Guiana, and at the age of 15 attended college in England.  His parents favored a medical career for their son, but Johnson, exposed to the music and dance of the West Indies, showed a definite talent in those areas. 

In 1934 Johnson visited New York.  While he in New York, he got some film work and starred in cabaret in Hollywood.  During a trip to Harlem, he heard the Cab Calloway and Fletcher Henderson Orchestras and become inspired to start his own big band orchestra in England. 

In 1936, Johnson formed his band, called Ken Johnson and His Rhythm Swingers.  Many of the sidemen were from the West Indies.   By 1940 they were regarded as one of the top Big Bands in Great Britain.  A year later, Ken Johnson and The West Indian Orchestra became the resident band at The Cafe de Paris in London's West End.

On Saturday March 8th, 1941, Ken Johnson and The West Indian Orchestra were entertaining London’s swing set at the Cafe De Paris as usual. That night, the area between Piccadilly Circus and Leicester Square was being strafed with bombs. One of them found its way down an airshaft into the club where it exploded. Over 30 people died and a further 60 or more were injured by the blast.  Tragically, Ken Johnson was not one of the survivors. An eyewitness recalls how he was found lying dead, but unmarked by any outward signs of injury, a flower still in his lapel. He was 26 years old.

Most of Johnson's recorded output may be found on Black British Swing.  A couple of good songs on that CD are a more up tempo version of "Tuxedo Junction" and "Snakehips Swing".

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Compilation Type CDs

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Jumpin' with the Big Swing Bands, various artists.  This is a nice sampler CD that features some very good, but lesser known songs.  The restoration and digital mastering is pretty good for most of the songs on the CD.

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Contemporary Big Bands

Kentucky Jazz Repertory Orchestra (KJRO), Lexington, KY.

Flying Home, released in 2009.  KJRO has produced a CD that should make Lindy Hop and Balboa swing dancers, jazz music enthusiasts and those that enjoy authentic music of the big band swing-era jump for joy.  This CD is a truly outstanding achievement, accomplishing two difficult tasks:  the songs are played true to the original version; and KJRO adds fresh energy, depth and clarity to the recordings.  And on top of all that, the sound recording quality is superb.  This CD should certainly be a staple of swing dancers and swing dance DJ’s everywhere.

Of the 24 tracks on this CD, 18 are by bands considered among the greatest of the swing-era:  Duke Ellington (7), Benny Goodman (3), Count Basie (3) and Jimmie Lunceford (2).  Also represented are three charts by Harlan Leonard and single arrangements by Lionel Hampton, Artie Shaw, Harry James, Nelson Riddle, Benny Carter and Glenn Miller.

Click here for all the info about Flying Home!

Louis Jordan.  If you go to a Swing Dance and you don't hear at least one song by Louis Jordan & His Tympany Five, then you should ask for your money back!  Louis Jordan has been rightly called the father of Rhythm & Blues and he profoundly influenced it's development and the subsequent development of rock & roll.  Jordan himself summarized the influence of rhythm & blues on the development of rock & roll:  "Rock 'n roll was not a marriage of rhythm and blues and country and western. That's white publicity. Rock 'n roll was just a white imitation, a white adaption of African-American rhythm and blues."  

Jordan was a prolific songwriter and artist, and a masterful and unrivaled entertainer and musician.  During the most successful 8 year run of his career from 1942-1950, he had an amazing 57 R&B chart hits, 18 of which hit #1, totaling 113 weeks in the #1 slot.  Jordan paid his band members very well, but was a perfectionist and one of the strictest leaders in the business, demanding punctuality and long rehearsals.  Originally from Brinkley, Arkansas, Jordan played in Chick Webb's band at the Savoy Ballroom in New York City in the 1930s, then formed his own outfit, the Tympani Five.  Especially popular during WW II, Jordan recorded numerous songs for the Armed Forces Radio Service and the V-Disc program.  His style of music featured swinging, danceable rhythms and clever lyrics that were popular not only with the Rhythm & Blues market but also with the emerging pop music audience, traits that did not pass unnoticed by a young artist in St. Louis, MO named Chuck Berry.  In fact, artists such as Chuck Berry, Ray Charles, B.B. King and Bill Haley have noted the great influence Louis Jordan had on their music (Berry was quoted as saying "I Identify myself with Louis Jordan more than any other artist").  Bands continue to cover Jordan's songs to this day. 
 
Some of Jordan's classic songs include "Choo Choo Ch' Boogie" ("You reach your destination but alas and alac, you need some compensation to get back in the black .....); "Knock Me A Kiss" (..."I'll cut out cake just for your sake, Baby, C'mon, and Knock Me A Kiss"... a great song for dancing to the breaks in the music!); "Ain't Nobody Here But Us Chickens" ("We got worms to dig and ground to scratch, It takes a lot of work a gettin' chicks to hatch ...); among many others.  To summarize, Jordan's music and  lyrics are just plain awesome.  I never tire of listening or dancing to Jordan's music!

There are lots of CD's with Jordan's music, including a lot of compilation CD's.  A good start for Jordan's music is this CD:  Louis Jordan, 20th Century Masters, The Millennium Collection

Big Joe Turner was a product of the swinging, wide-open Kansas City music scene, where he was born in 1911.  He is best known as one of the great "blues shouter" of his time.  His music effortlessly spanned boogie-woogie, jump blues and the first wave of rock & roll, enjoying great success in each genre.  Much like Louis Jordan, Big Joe Turner was a big influence on other Jump Blues artists and the early rock and rollers.  Bands cover many of Turner's classic numbers, although few, if any, singers can match his booming vocals.  Turner died on November 24, 1985 after a long recording career. 

Some of Turner's great songs include "Shake, Rattle and Roll" (Bill Haley & the Comets "cleaned up" the lyrics and had a hit with this song); "Flip, Flop & Fly"; "Hide and Seek"; "Boogie Woogie Country Girl"; among many others.  For Turner's music, The Very Best of Big Joe Turner is a good start.

Wynonie Harris.  Originally from Omaha, Nebraska, Wynonie Harris was a fine swing dancer before turning  to music.  One of his main influences was Big Joe Turner.  Harris made his own mark on the music world with his trademark raspy and boisterous voice over some of the jumpingest horn-powered combos of the postwar era.  Many of his hit records in the late 1940's/early 1950's were recorded at Cincinnati, Ohio's King Records label.  Many of his songs have suggestive lyrics; his music is a lot of fun for listening and dancing.  Some of his classic songs include "Who Threw the Whiskey in the Well" (Harris' first big hit, recorded with the Lucky Millinder Orchestra); "Shake That Thing"; "Don't Take My Whiskey Away From Me"; "All She Wants to do is Rock"; "Good Rockin' Tonight" (one of the classics of the Jump Blues genre); "Bloodshot Eyes"; "Wasn't That Good"; to name only a few.  Bloodshot Eyes: The Best of Wynonie Harris.  This is a fine CD from one of the great "blues shouters" of the Jump Blues era.

Benjamin "Bullmoose" Jackson.  Benjamin Jackson was born in 1919 in Cleveland, OH.  He was a fine saxophone player and had a distinctive voice.  He formed his first band, The Harlem Hotshots, while in High School.  In 1943, Jackson joined the Lucky Millinder Orchestra, one of the swingin'est bands in the big band era.  Some of his fellow musicians felt that "Ben Jackson" was not a colorful enough name, so they began calling him "Bullmoose" and the name stuck.  After Wynonie Harris left the Millinder Orchestra, Jackson took over as vocalist, and a star was born!  In 1945, Jackson formed his own musical group, Bullmoose Jackson and the Buffalo Bearcats, and they had a number of R&B hits in the 1940's & 50's.  Many of the songs contained double-entendre type lyrics, although it should be noted that Jackson was also a fine ballad singer.  His most famous song is "Big Ten Inch Record", a classic of the jump blues genre.  For Jackson's music, The Very Best of Bull Moose Jackson: Big Ten-Inch Record is a good start.

In 1984, Jackson was coaxed back into the music business by the first-rate Pittsburg, PA band The Flashcats.  Jackson quickly became a cult figure in the Pittsburgh area.  His ability to sing and captivate an audience led to numerous sold-out performances with the Flashcats.  Jackson was grateful for the opportunity to perform again and was quoted as saying "I'm elated that I can still perform, and I'm very proud that people still remember.  They've resurrected an old man.  I had one foot in the grave and the other on a banana peel.  They dug me out and here I am."  Jackson and the Flashcats toured extensively in the U.S., to include Jackson's first appearance at New York's Carnegie Hall in 1985.  Jackson continued to perform regularly (to include a tour in Europe) until 1987 when his health began to fail.  Benjamin Jackson passed away in Cleveland, OH on July 29, 1989.  

Bullmoose Jackson and the Flashcats recorded one LP (Moosemania!) which is now available as a CD from Bogus Records:  "Bullmoose Jackson and The Flashcats - The Final Recordings".  This CD has several excellent songs from one of the great performers and legends of Jump Blues music, to include "Get Off the Table, Mable (the two dollars is for the beer)" and "Shiny Diamonds".                                             
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Compilation CDs:  for the Jump Blues genre in general, these three CDs give a good overall feel for the music:  

Risqué Rhythms, Nasty 50's R&B, by various artists.  This CD is a compilation of early 1950's songs with suggestive lyrics and double-entendres, to include such classics as "Big Ten Inch Record" by Bullmoose Jackson; "It Ain't the Meat, It's the Motion", by the Swallows; and "Sixty Minute Man", by the Dominoes.  All of the lyrics seem tame compared to what one hears today in the media, although in the 1950's some of these songs caused quite a stir!  This is an overall  fun CD for listening and dancing.
Blues Masters, Vol. 5: Jump Blues Classics, various artists.
Blues Masters, Vol. 14: More Jump Blues Classics, various artists.
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                                                           Jazz Vocalists/Crooners

Many of the greatest jazz vocalists and crooners came from the big band era, to include Frank Sinatra, Billie Holiday, Ella Fitzgerald, Mel Tormé, Anita O'Day, Sarah Vaughan, Peggy Lee, among others.  Almost all of them toured with big bands and many went on to have major success during the post-war era, when the style really bloomed.  Though it isn't easy separating jazz vocalists and crooners from traditional pop singers, those in the jazz vocalist/crooner arena delivered sophisticated and innovative variations of the material, both in performance and in recordings.  They often declined to record the generic pop hits of the day and preferred to work with talented arrangers, such as Nelson Riddle and Billy May.   

                           Jazz Vocalists/Crooners Music Recommendations: CDs

There are lots of CDs on the market for these artists.

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                                        1940's/Early 50's Pop Vocalists

This was a transitional era, bridging the big band sound with popular music before the tidal wave of rock and roll.  In some ways, this era was bland, simplistic and void of real artistic merit.  The explosion of Rock & Roll mercifully ended this era, but many of the artists adapted and continued successful careers not only in music but in television and the movies.  The music in this era encompasses a wide range of genres, but may be divided into three broad areas.

Easy listening ballads during this era were typically a very lyrical and/or melodic piece, normally at a slow tempo.  Artists particularly liked popular American composers such as  Jerome Kern, Irving Berlin, George Gershwin, and Cole Porter.  Artists identified with ballads from this era include Nat King Cole and Johnny Mercer (also a gifted songwriter).  Often these ballads are nice to listen to but are not particularly suitable for swing dancing.     

Novelty songs, probably the most easily identifiable songs from this era, required little improvisation but skillful timing from the vocalist.  Artists such as Rosemary Clooney, Kay Starr, Pattie Page, Vic Damone and Tony Bennett were particularly successful in this area.  A few songs of this type are suitable for swing dancing.

And lastly, some artists attempted to adapt to the early rumblings of rock & roll.  There are some songs from this area that are interesting to listen to and are suitable for swing dancing.   

                       1940's/Early 50's Pop Vocalists Music Recommendations: CDs

There are lots of CD's on the market for this era of music.  In addition, check your local library for music for this era.
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                    1940's/50's/60's Rhythm & Blues (R&B)

Evolving out of jump blues in the late 1940's, R&B laid the groundwork for rock & roll.  R&B kept the tempo and the drive of jump blues, but its instrumentation was sparer and the emphasis was on the song, not improvisation.  During the 1950's, R&B was dominated by vocalists like Ray Charles and Ruth Brown, as well as vocal groups like the Drifters and the Coasters.  Eventually, R&B metamorphosed into soul, which was funkier and looser than the pile-driving rhythms of R&B.  For historical information on the origins of R&B, check out the Hoy Hoy web site.


                  1940's/50's/60's R&B Music Recommendations:  CDs

There are lots of CD's on the market for this era of music, both for individual artists and compilation CDs.  In addition, check your local library for music for this era.   

Sam Cooke-Greatest Hits.  Sam Cooke was one of the most influential soul singers of the late 1950's/early  60's.  Early in his career he was a very successful gospel singer.  He entered popular music with the song "You Send Me".  This song was a huge success, melding the elements of R&B, gospel and pop music into a then new and still developing sound that eventually became soul music. 

Many of Cook's recordings are great for listening and "slow" dancing.  For swing dancers, "That's It, I Quit, I'm Movin' On" and "Twistin' the Night Away" are excellent.    

The Legendary Low Rawls.  This is a nice anthology CD.  The songs were recorded from 1960 to 1992; his singing is really smooth!  Rawls is a very versatile performer.  As a singer, he is at home with gospel, early R&B, soul, jazz, blues and contemporary pop music.  He has several television and movie roles to his credit and even served as an Army paratrooper in the 1950's!                               Back to Top

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                                            1950's Rock & Roll (R&R)

The 1950's in music (or 50's) often refers to the early but definite beginnings of Rock & Roll music.  Early Rock & Roll drew from a variety of  sources, to include blues and Jump Blues, Rhythm & Blues (R&B), country, gospel, traditional pop, jazz, and folk.  All of these influences combined in a simple, blues-based song structure that was catchy and generally danceable.  The first wave of rock & rollers -- Chuck Berry, Elvis Presley, Little Richard, Jerry Lee Lewis, Buddy Holly, Bo Didley, Bill Haley, Gene Vincent and Carl Perkins -- set the standard for those that followed.

There is a variety of 1950's Rock & Roll music that is good for dancing, to include R&B (which eventually metamorphosed into soul) and Rockabilly (an amalgamation of blues, bluegrass, R&B, and swing, often played with a piano or guitar boogie beat).  
                                  
Note that this category also includes music from the "Rockabilly Revival".  The "Rockabilly Revival" refers to bands of the 1980's and post 1980's, dedicated to replicating the style and sound of the classic 1950's rock and roll.  Though there have always been bands that played rockabilly, the Rockabilly Revival didn't hit its stride until the post-punk era, when a number of new bands picked up the sounds of rockabilly.  The first rockabilly revival culminated with the success of Brian Setzer and the Stray Cats in the early 1980's, first in Europe and then in the U.S.  Following the success of the Stray Cats, a number of rockabilly bands and artists have experienced success, at the regional and national level in the U.S. and in Europe.  These groups include the Cigar Store Indians and Rosie Flores (the rockabilly filly), among many others.
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                                        1950's R&R Music Recommendations:  CDs  

Chuck Berry.  For the 1950's Rock & Roll (R&R) genre, the most important artist is Chuck Berry.  Indeed,  Chuck Berry is considered by many to be not only the father of R&R, but its greatest songwriter and one of its greatest guitarists and performers.  Many artists, to include the Beatles, Elvis, the Beach Boys, the Rolling Stones, among many others, have noted the huge influence of Chuck Berry on their music.  Without Chuck Berry, there would be no R&R music as it developed and exists today.  

What made Chuck Berry so unique?  It was a combination of factors.  His songs had a seemingly inexhaustible supply of fresh, new lyrics that spoke to a generation tired of the bland and boring songs of the late 1940's and early 1950's pop music genre.  Berry's music had a sound that appealed to a cross section of society in the 1950's, both black and white.  His music also had a distinct sound that was not easily copied and covered by other pop singers (i.e. the way Pat Boone copied and covered songs by Fats Domino, Little Richard, etc.).     

So many of Berry's songs are considered classic R&R:  "Roll Over Beethoven", "Brown Eyed Handsome Man", "Sweet Little Sixteen", "Johnny B. Goode", "You Never Can Tell", "No Particular Place to Go", and the song that in many ways defines the R&R genre of music: "Rock and Roll Music". (For more info on Chuck Berry and the lyrics to some of his songs, click here.)  There are numerous CDs on the market for Chuck Berry.  A good start is Berry's 20th Century Masters, The Millennium Collection.  

Bill Haley & the Comets.  Although Chuck Berry is rightly considered the father of rock & roll, Billy Haley is a  close second.  Bill Haley & the Comets was one of the first groups to successfully combine Rhythm & Blues (R&B) and western swing with a bit of country boogie and jump blues into a rock & roll sound that is now generally known as rockabilly.  Haley wrote much of his own material. 

The group's classic numbers include "R.O.C.K.", "See You Later, Alligator" and "Rock Around the Clock". 

For a CD, check out Bill Halley & the Comets, the 20th Century Masters, The Millennium Collection.

Jivin' Jamboree, by various artists.  This compilation CD contains 25 tracks of early Rock & Rock/Jump Blues songs, most recorded in the 1950's.  This CD was compiled by a swing dance instructor in London, England and he did a really nice job.  "Rockin' Robin", by Bobby Day, "Hey Girl, Hey Boy" by Oscar McLollie & Jeanette Baker and "Opus One" by the Mills Brothers are songs worth noting. 
  
Jivin' Jamboree 2 & 3, by various artists.  Follow ups to the original Jivin' Jamboree, these two CD's provide some more good songs from the 1950's.                          Back to Top

               Rockabilly and Rockabilly Revival Music Recommendations:  CDs 

Early Rockabilly Recordings.  There are a number of Sun Label recordings on the market that capture the 1950's rockabilly style for artists such as Elvis Presley, Carl Perkins, Jerry Lee Lewis, Roy Orbison, Gene Vincent and Eddie Cochran, among others.  In addition, Buddy Holly's musical career, although tragically cut short, provides some fine recordings.   

Blair Carman & the Belleview Boys.  A really  good band from the Cincinnati, OH area that plays some great rockabilly and 50's rock "n" roll.  They have played for several Hepcats events.

Cigar Store Indians.  This group, a swell bunch of boys from Crab Apple, Georgia, is a great rockabilly band (although they no longer perform as a group).  They wrote most of their own lyrics and music and when they did perform live, they put on a great show.  Their songs "This Town Ain't Cool", "Big Girl Blouse", "Get on the Throttle", "Call Me Sometime" and "Dirty Belly Button" are great songs for listening and dancing.  All their CDs are first-rate.  For swing dancers, their second CD, El Baile de la Cobra, is particularly noteworthy.  This group played for a Swing Dance in Lexington on February 28th, 2003 at the UK Student Center Ballroom and at Lexington's "Swingin' on Main" outdoor dance event in June 2004 and 2005.   

Stray Cats.  Led by Brian Setzer, the Stray Cats were one of the groups at the forefront of the rockabilly revival in the 1980's.  For a CD, check out Runaway Boys: A Retrospective '81-'92.
 
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                 Other 1950's or "Oldies" Music Recommendations

There are lots (and lots!) of CDs on the market for other 1950's or "Oldies" music, both for individual artists and compilation CDs.  

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                                                Early 60's R&R
In addition to 1950's Rock & Roll (R&R), R&R has seen many styles, most of them not danceable.  These styles included the British Invasion, folk-rock, psychedelic, hard rock, heavy metal and punk.  For each style, some artists replicated the sound of the first rockers, while some expanded that definition and others explored new areas of the genre.  From these original permutations, traditional rock & roll faded away from the pop charts, yet there were always artists that kept elements of the original genre alive.  Some, like the Rolling Stones adhered to the basic rules of traditional R&R but played the music fast and loose.  Others, like punk rockers, use the basic song structure, but played it with more menace.  Other artists became R&R traditionalists, writing and recording music that never wavered from the sound of the '50s and early '60s.  Although the term "rock & roll" may refer to a number of different music styles in the decades following its inception, the essential form of the music has basically remained unchanged.

                                               Early 60's R&R Music Recommendations:  CDs 

Similar to the  early 1950's or "Oldies" era, there are lots of CDs on the market for the early 60's R&R era.  Some specific CDs worth noting:
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                                                                                   Neo/Retro Swing

The 1990's saw a revival of swing music and dancing in the United States.  But how did it get to the point that a swing dance "revival" was needed?  

Chubby Checkers' song "The Twist" generally killed off partner dancing in the early 1960's.  In fairness, swing was not the only dance that suffered a decline.  Much of the music of the 1960's and 70's was geared toward sitting and listening, not tapping your toe and getting up and dancing.  This was also a period of "do your own thing", an attitude not conducive to partnered social dancing.   

Throughout the 1960's and 70's, swing music was kept alive by members of the original "Big Band" generation.  However, swing music itself was often marginalized in late night record offers and commercials.  To many members of the baby-boom and later generations, swing music was often equated with the stale music of a Guy Lombardo New Year's eve celebration, or even the "champagne" music of Lawrence Welk.  Ugh!

Swing dancing was taught at ballroom dance studios in the 1960's and 70's, but much like swing music in the mass media, it was often a marginalized, watered-down version of the original Lindy Hop and Jitterbug.  Depending on the particular region of the country, the ballroom version of swing was called East Coast or West Coast Swing, with emphasis on the proper patterns and steps and little or no emphasis on improvisation, innovation or dancing to the music.

The Hustle or Disco movement of the 1970's was a big factor in bringing the concept of partner dancing back to the general public, with a resulting rise and interest in partner dancing in general.  (Disco and Hustle have had a major influence on the development of West Coast Swing to the point that this style of swing dance has lost most of it's Lindy Hop flavor and styling.)   

The 1980's witnessed a number of singers, to include Harry Connick, Jr., Linda Rondstadt and Bette Midler recording several Big Band era classic songs.  The 80's also witnessed a renewed interest in learning partnered dances by young adults who were seeking something new and different.  Many of these youths were increasingly disenchanted with hard rock music and its emphasis on the heavy metal, grunge musical movement and the formless, nihilistic, booty-shaking dancing that left each partner in their own, lonely bubble.

As previously noted, there was a "Rockabilly Revival" in the 1980's, as a number of bands dedicated to replicating the style and sound of the classic 1950's rock and roll emerged.  As some of these bands (and some punk rock bands) further explored the roots of rockabilly and 1950's music, they learned about Jump Blues and Big Band music and began to form the so-called neo-swing bands, as witnessed by Royal Crown Revue, probably the pioneer band of the swing revival, formed in Los Angeles, California in 1989.  It should also be noted that a number of Europeans had a big part in keeping swing "alive" throughout the 1980's and early 1990's.  Their contribution are sometimes overlooked.

Now back to the swing revival in America in the 1990's.  At first, the emerging swing scene was concentrated in California, primarily San Francisco and then Los Angeles.  But a series of events, to include the 1993 film Swing Kids, the 1994 film The Mask, the 1996 film Swingers and the 1998 "Khakis Swing" GAP TV commercial (shown in the highly rated finales of "ER" and "Seinfield") that featured Louis Prima's song "Jump, Jive 'n' Wail" brought the swing revival into the mainstream.  

In addition to a renewed interest in traditional swing music (i.e. Big Band, Jump Blues), the 1990's witnessed a number of neo/retro swing bands that came to prominence and began appearing on CD labels, although some of these bands had been performing before the 1990's "swing revival".  

There are generally two types of neo/retro swing bands:  those closer to the rock genre and those that have a more classic jazz or blues sound.  

The neo/retro swing bands closer to the rock genre were formed  in the 1990's by band members of alternative rock who found they favored swing and dance to dope and grunge.  This type of swing music is generally played somewhat fast, but is nevertheless designed for dancing and fun.  These type bands include Big Bad Voodoo Daddy, Cherry Poppin' Daddies, the Brian Setzer Orchestra, and Royal Crown Revue, among others.  

There are a number of neo/retro swing bands whose sound is closer to the classic big band, jazz, blues, or jump blues genre.  These groups are the ones that are more popular with most swing dancers.  These groups include Indigo Swing, Roomful of Blues, Swing Session, Lavay Smith and Her Red Hot Skillet Lickers, Casey MacGill and the Spirits of Rhythm, the Mighty Blue Kings, among others.

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                                  Neo/Retro Swing Music Recommendations:  CDs 

All Aboard, Indigo Swing.  This CD, their 2nd, (along with their other two releases, Indigo Swing and Red Light) was one of the best for swing bands that formed during the 1990's swing revival.  This CD has excellent music and lyrics for dancing.      

Everybody's Talking 'Bout Miss Thing, Lavay Smith and Her Red Hot Skillet Lickers.  An excellent CD with several danceable tunes.  Lavay Smith has a wonderful voice and the band is also first-rate.    

Jump, Casey MacGill and the Spirits of Rhythm.  An nice CD with good vocals and a tight band. 

A lot of compilation CDs were released for neo/retro swing music of the 1990's.  Most of these compilations are so-so (at best); they may have 2 or 3 (4 or 5 if you are lucky) songs on them that are danceable.  It's better if you can get those type CDs used.
                                     "Pre" 1990's Swing Revival Music

Yes, before the swing "revival" hit in the 1990's, there were some bands putting out some good swing music in the 1980's (and early 1990's).  It's interesting to listen to this music today and admire the artists' sense of history and dedication.  A couple of CD's come to mind.

Jumpin' Jive, Joe Jackson.  Jackson covers tunes by Louis Jordan and Cab Calloway on this CD, that must have sounded really fresh and inspiring when it was released in 1981.  

Buster Poindexter, self titled debut album.  Although a little campy, there is some good music on this 1987 release, including a nice version of Jimmie Lunceford's "I'm Nuts About Screwy Music" and the Coasters "Whadaya Want?".  (The most recognizable song on this CD is probably "Hot, Hot, Hot".)

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                                                                                                     Other

This is a category for music that does not easily fit in one of the previous categories.  The songs in this category, although eclectic in nature, are good for swing dancing.

                   CDs Recommendations for this Category:

Sophisticated Swing, Vol. 1, various artists.  This is a nice CD that has a variety of good songs at slower tempos (although I'm not sure what makes this CD "sophisticated").  The BPM range is from about 110-130.

For questions or information about Hepcats activities, contact Mike Richardson,
Email, info@Luv2SwingDance.com; or 859-420-2426.

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