[78-L] SWEET GEORGIA BROWN was Mr Goon-Bones

[Jim Shulman]

Alberta Hunter, late in her career.

Jim Shulman
Wynnewood, PA


-----Original Message-----
From: 78-l-bounces at klickitat.78online.com
[mailto:78-l-bounces at klickitat.78online.com] On Behalf Of RAY KILCOYNE
Sent: Wednesday, February 11, 2009 11:08 AM
To: 78-L Mail List
Subject: Re: [78-L] SWEET GEORGIA BROWN was Mr Goon-Bones

This thread reminded me of what a great song SGB is.  Anyone have a 
recommendation of their favorite vocal version?
RayK

> Brother Bones and Mr. Goon-Bones were contemporaries in the late 40s and
> early 50s.  Brother Bones' (Freeman Davis) big hit was 'Sweet Georgia
> Brown' (SGB) later picked up by the Harlem Globe Trotters as their theme
> song and probably one of the most played records because of that though
> most people don't realize he is playing rhythm bones.  He was also a great
> whistler.  His songs are now on a CD titled 'Brother Bones and his
> Shadows.'
>
> Mr. Goon-Bones' (Ted Goon) big hit was Ain't She Sweet, the B-side to
> Sheik of Araby (Crystalette S-1803).  Critics hated it (it used
> syncopation and the new electronic echo chamber-maybe one of the first
> recordings to use it), and later it was played by a St. Louis disc Jockey
> only to take off in popularity. It sold over a million copies when 200,000
> was a hit, and rose to 7th on the Billboard jukebox chart.  Ted was a
> great rhythm bones player.  He sold 20,000 sets of Goon-bones made of
> northern maple and painted black.
>
> As for the confusion about who played on Sweet Georgia Brown, Ted was in
> the process of getting a trademark for his Goon-Bones when Tempo
> approached him to record SGB.  He told them it would be 3 months before he
> could do the recording, and during that time, they found Freeman
> whistling, playing bones and shining shoes in LA.  Ted learned of this
> while driving one day and hearing it played on his radio.
>
> Mike mentioned that I wrote an article on Ted.  I am a member of the
> Rhythm Bones Society (rhythmbones.com), and its newsletter editor.  I
> wrote the 2002 article he mentioned, but only now in retrospect realize by
> looking at his catalog of recordings how important he is to rhythm bones
> history.  I will write a follow on article when I complete my research on
> his catalog.  Steve