The music from the Roaring Twenties was often referred to as the Jazz Age because at that time – jazz was the absolute in popularity trends – it influenced everything of that period – dancing, fashion, culture and the people!
Jazz became the music for revolution and it further helped budding organisations that were just starting to make serious headway and glean valued footholds in a society that was determined to make conventional normalcy stay on top. The music hinted the essences of rebellion and encouraged voices to be heard and faces to be seen like those found in The Women’s Liberation Movement as just one example!
The world teetered on the edge of futuristic and progressive development and new founded opulence, economic growth and a higher level of prosperity – a new age was dawning and the music at the time enthused and motivated people to look at life, their lives and the societal lifestyle in general differently.
The 1920’s also witnessed the arrival of The Flappers – the very symbols of freedom and challenge and more importantly – equality between the sexes! The Flappers also were a positive move and mood back to what life was like pre-war – they were the new people – new politics, new thoughts, new fashion, new ideals.
The Roaring Twenties had arrived and it brought with it booms in all industry, a major shift in the way people thought and voted and traveled and lived. More people moved away from the rurals and started to settle into the cities and suburbias as the cities themselves began to expand.
The most popular music of the 1920’s was jazz, swing, dance band, ragtime, hillbilly and blues amongst others, but these were the main genres ………
Today’s Top Ten most popular songs from the 1920’s period are ……..
“In the Jailhouse Now” is an American novelty blues song originally found in vaudeville performances from the early 20th century, usually credited to Jimmie Rodgers. The song’s first two verses trace the exploits of Ramblin’ Bob, who cheats at cards and gets caught, while the final verse tells about taking a girl named Susie out on the town and winding up in jail together
“The Prisoner’s Song” is a song copyrighted by Vernon Dalhart in 1924 in the name of Dalhart’s cousin Guy Massey, who had sung it while staying at Dalhart’s home and had in turn heard it from his brother Robert Massey, who may have heard it while serving time in prison.
“The Prisoner’s Song” was one of the best-selling songs of the 1920s, particularly in the recording by Vernon Dalhart. The Vernon Dalhart version was recorded on Victor Records in October 1924 and marketed in the hillbilly music genre. It was likely one of the best-selling records of the early 20th century. Although contemporary data show that Victor pressed slightly over 1.3 million copies during the record’s peak years of popularity, anecdotal accounts sourced from a 1940s promotional flyer report sales as high as 7 million. The song’s publisher at the time, Shapiro, Bernstein & Co., reportedly sold over one million copies of the song’s sheet music.
Clarence Smith (June 11, 1904 – March 15, 1929), better known as Pinetop Smith or Pine Top Smith, was an American boogie-woogie style blues pianist. His hit tune “Pine Top’s Boogie Woogie” featured rhythmic “breaks” that were an essential ingredient of ragtime music, but also a fundamental foreshadowing of rock & roll. The song was also the first known use of the term “boogie woogie” on a record, and cemented that term as the moniker for the genre.
“Makin’ Whoopee” is a jazz/bluessong, first popularized by Eddie Cantor in the 1928 musical Whoopee!. Gus Kahn wrote the lyrics and Walter Donaldson composed the music for the song as well as for the entire musical. The title refers to celebrating a marriage. Eventually “making whoopee” became a euphemism for intimate sexual relations. The song has been called a “dire warning”, largely to men, about the “trap” of marriage. “Makin’ Whoopee” begins with the celebration of a wedding, honeymoon and marital bliss, but moves on to babies and responsibilities, and ultimately on to affairs and possible divorce, ending with a judge’s advice.
“Heebie Jeebies” is a composition written by Boyd Atkins which achieved fame when it was recorded by Louis Armstrong in 1926. Armstrong also performed “Heebie Jeebies” as a number at the Vendome Theatre. The recording on Okeh Records by Louis Armstrong and his Hot Five includes a famous example of scat singing by Armstrong. After the success of the recording, an accompanying dance was choreographed and advertised by Okeh.