Lindley Armstrong "Spike" Jones (December 14, 1911 – May 1, 1965) was an American musician and bandleader specializing in performing satirical arrangements of popular songs. Ballads and classical works receiving the Jones treatment would be punctuated with gunshots, whistles, cowbells, and outlandish vocals. Through the 1940s and early 1950s, the band recorded under the title Spike Jones and his City Slickers and toured the United States and Canada under the title The Musical Depreciation Revue.Der Fuehrer's FaceIn 1942, a strike by the American Federation of Musicians prevented Jones from making commercial recordings for over two years. He could, however, make records for radio broadcasts. These were released on the Standard Transcriptions label (1941–1946) and have been reissued on a CD compilation called (Not) Your Standard Spike Jones Collection.Recorded just days before the recording ban, Jones scored a huge broadcast hit late in 1942 with "Der Fuehrer's Face", a song ridiculing Adolf Hitler that followed every use of the word "Heil" with a derisive razzberry sound, as in the repeated phrase " Heil, (razzberry), Heil (razzberry), right in Der Fuehrer's face!".More satirical songsThe romantic ballad "Cocktails for Two", originally written to evoke an intimate romantic rendezvous, was re-recorded by Spike Jones in 1944 as a raucous, horn-honking, voice-gurgling, hiccuping hymn to the cocktail hour. The Jones version was a huge hit, much to the resentment of composer Sam Coslow.Other Jones satires followed: "Hawaiian War Chant", "Chloe", "Holiday for Strings", "You Always Hurt the One You Love", "My Old Flame", referring to Peter Lorre's voice (impersonated on the recording by Paul Frees) and eerie scenes in contemporary movies, and many more.Ghost RidersSpike's parody of Vaughn Monroe's rendition of "Ghost Riders in the Sky" was performed as if sung by a drunkard and ridiculed Monroe by name in its final stanza:CHORUS: 'Cause all we hear is "Ghost Riders" sung by Vaughn Monroe.DRUNK: I can do without his singing.FRIEND: But I wish I had his dough!The official American release edited out the dig at Monroe, because Monroe, a popular RCA Victor recording artist and also a major RCA stockholder, demanded it. The original version was released on the European market in 1949. (A few pressings containing the first ending were mistakenly released on the West Coast and are a prized rarity today.)All I Want for ChristmasJones' recording, "All I Want for Christmas Is My Two Front Teeth", with a piping vocal by George Rock, was a number-one hit in 1948. (Dora Bryan recorded a 1963 variation, "All I Want For Christmas is a Beatle".)Murdering the ClassicsAmong the series of recordings in the 1940s were humorous takes on the classics such as the adaptation of Liszt's Liebesträume, played at a breakneck pace on unusual instruments. Others followed: Rossini's William Tell Overture was rendered on kitchen implements using a horse race as a backdrop, with one of the "horses" in the "race" likely to have inspired the nickname of the lone SNJ aircraft flown by the U.S. Navy's Blue Angels aerobatic team's shows in the late 1940s, "Beetle Bomb". In live shows Spike would acknowledge the applause with complete solemnity, saying "Thank you, music lovers." An LP collection of twelve of these "homicides" was released by RCA (on its prestigious Red Seal label) in 1971 as Spike Jones Is Murdering the Classics. They include such tours de force as Pal-Yat-Chee (Pagliacci), sung by the Hillbilly humorists Homer and Jethro, Ponchielli's Dance of the Hours, Tchaikovsky's None but the Lonely Heart, and Bizet's Carmen.In 1944 RCA Victor released his "Spike Jones presents for the Kiddies" version of Tchaikovsky's Nutcracker Suite, in three 10 inch vinyl 78 rpm records, P-143, arrangement credited to Joe "Country" Washburne with lyrics by Foster Carling. It was released as a three 7 inch 45 rpm vinyl set in 1949 as WP-143 and as a one 45rpm extended play EPA-143 in 1952. An abridged version is also included in the aforementioned album, with a complete version available on the CD collection Spiked: The Music of Spike Jones.RadioAfter appearing as the house band on The Bob Burns Show, Spike got his own radio show on NBC, The Chase and Sanborn Program, as Edgar Bergen's summer replacement in 1945. Frances Langford was co-host and Groucho Marx was among the guests. The guest list for Jones's 1947-49 CBS program for Coca-Cola (originally The Spotlight Revue, retitled The Spike Jones Show for its final season) included Frankie Laine, Mel Torme, Peter Lorre, Don Ameche and Burl Ives. Frank Sinatra appeared on the show in October 1948, and Lassie in May 1949. Jones's resident "girlsinger" during this period was Dorothy Shay, "The Park Avenue Hillbillie." One of the announcers on Jones's CBS show was the young Mike Wallace. Writers included Eddie Maxwell, Eddie Brandt and Jay Sommers. The final program in the series was broadcast in June 1949.Spike Jones and His Other OrchestraThe very name of Spike Jones became synonymous with crazy music. While he enjoyed the fame and prosperity, he was annoyed that nobody seemed to see beyond the craziness. Determined to show the world that he was capable of producing legitimate "pretty" music, he formed a second group in 1946. Spike Jones and His Other Orchestra played lush arrangements of dance hits. This alternate group played nightclub engagements and was an artistic success, but the paying public preferred the City Slickers and stayed away. Jones wound up paying some of the band's expenses out of his own pocket. Some of the City Slickers band members appeared and recorded with the Other Orchestra, but most of the Other Orchestra personnel consisted of "serious," accomplished studio musicians from the Los Angeles area.The one outstanding recording by the Other Orchestra is "Laura," which features a serious first half (played exquisitely by the Other Orchestra) and a manic second half (played hilariously by the City Slickers).MoviesIn 1940, Jones had an uncredited bandleading part in the Dead End Kids film Give Us Wings, appearing on camera for about four seconds.As the band's fame grew, Hollywood producers hired the Slickers as a specialty act for feature films, including Thank Your Lucky Stars (1943), Meet the People (1944), Breakfast in Hollywood (1946) and Variety Girl (1947) . Jones was set to team with Abbott and Costello for a 1954 Universal Pictures comedy, but when Lou Costello withdrew for medical reasons, Universal replaced the comedy team with look-alikes Hugh O'Brian and Buddy Hackett, and promoted Jones to the leading role. The finished film, Fireman Save My Child, is a juvenile comedy that turned out to be Spike Jones's only top-billed theatrical movie.SoundiesIn 1942 the Jones gang worked on numerous Soundies, musical shorts seen on coin-operated projectors in arcades, malt shops, and taverns. The band appeared on camera under their own name in four of the Soundies ("Clink! Clink! Another Drink", "Pass the Biscuits, Mirandy", "The Sheik of Araby", and "Blacksmith Song"), and, according to musicologist Mark Cantor, provided background music for at least thirteen others. Mel Blanc, the voice of Bugs Bunny and other Warner Brothers cartoon characters, performed a drunken, hiccuping verse for 1942's "Clink! Clink! Another Drink" (reissued in 1949 as "The Clink! Clink! Polka").TelevisionJones saw the potential of television and filmed two half-hour pilot films, Foreign Legion and Wild Bill Hiccup, in the summer of 1950. Veteran comedy director Eddie Cline worked on both, but neither was successful. The band fared much better on live television, where their spontaneous antics and crazy visual gags guaranteed the viewers a good time. Spike usually dressed in a suit with an enormous check pattern and was seen leaping around playing a washboard, cowbells, a suite of klaxons and foghorns, then xylophone, then shooting a pistol. The band starred in variety shows, such as The Colgate Comedy Hour (1951, 1955) and their All Star Revue (1952) before being given his own slot by NBC, The Spike Jones Show, which aired early in 1954, and Club Oasis on NBC, in the summer of 1958; and by CBS, as The Spike Jones Show, in the summers of 1957, 1960, and 1961. Jones and his City Slickers also appeared on NBC's The Ford Show, Starring Tennessee Ernie Ford in the episode which aired on November 15, 1956. In 1990, BBC2 screened six compilation shows from these broadcasts; they were subsequently aired on PBS stations.Later yearsThe rise of rock and roll and the decline of big bands hurt Spike Jones' repertoire. The new rock songs were already novelties, and Jones could not decimate them the way he had lampooned "Cocktails for Two" or "Laura." He played rock music for laughs when he presented "for the first time on television, the bottom half of Elvis Presley!" This was the cue for a pair of pants — inhabited by dwarf actor Billy Barty—to scamper across the stage.Jones was always prepared to adapt to changing tastes. In 1950, when America was nostalgically looking back at the 1920s, Jones recorded an album of Charleston arrangements. In 1953 he responded to the growing market for children's records, with tunes aimed directly at kids (like "Socko, the Smallest Snowball"). Jones had become unhappy at RCA Victor and left the label in 1955. His later recordings were issued by Verve, Liberty and Warner Bros. In 1956 Jones supervised an album of Christmas songs, many of which were performed seriously. In 1957, noting the television success of Lawrence Welk and his dance band, he revamped his own act for television. Gone was the old City Slickers mayhem, replaced by a more straightforward big-band sound, with tongue-in-cheek comic moments. The new band was known as Spike Jones and the Band that Plays for Fun.The last City Slickers record was the LP Dinner Music for People Who Aren't Very Hungry. The whole field of comedy records changed from musical satires to spoken-word comedy (Tom Lehrer, Bob Newhart, Mort Sahl, Stan Freberg). Spike Jones adapted to this, too; most of his later albums are spoken-word comedy, including the horror-genre sendup Spike Jones in Stereo (1959) and Omnibust (1960). Jones remained topical to the last: his final group, Spike Jones's New Band, recorded four LPs of brassy renditions of pop-folk tunes of the 1960s (including "Washington Square" and "The Ballad of Jed Clampett"). One of his New Band tracks in 1964 was a cover of "Dominique", a hit by The Singing Nun, in which he not only plays part of the melody on a banjo but melds the melody successfully with "When the Saints Go Marching In!"DeathJones was a lifelong heavy smoker, and he eventually developed emphysema. His already thin frame deteriorated, to the point where he used an oxygen tank offstage and onstage was confined to a seat behind his drum set. He died at the age of 53, and is buried in Holy Cross Cemetery, Culver City, California.InfluenceThere is a clear line of influence from the Hoosier Hot Shots, Freddie Fisher and his Schnickelfritzers and the Marx Brothers to Spike Jones — and to Stan Freberg, Gerard Hoffnung, Peter Schickele's P.D.Q. Bach, The Goons, Mr. Bungle, Frank Zappa, The Bonzo Dog Doo-Dah Band, The Mystic Knights of the Oingo Boingo, The Beatles and "Weird Al" Yankovic. Billy Barty appeared in Yankovic's film UHF and a video based on the movie. According to David Wild's review in Rolling Stone Magazine, Elvis Costello's 1989 Album "Spike" was named partly in tribute to Jones.Syndicated radio personality Dr. Demento regularly features Jones' music on his program of comedy and novelty tracks. Jones is mentioned in The Band's song, "Up on Cripple Creek". (The song's protagonist's paramour states of Jones: "I can't take the way he sings, but I love to hear him talk.") Novelist Thomas Pynchon is an admirer and wrote the liner notes for a 1994 reissue, Spiked! (BMG Catalyst). A scene in the romantic comedy I.Q. shows a man demonstrating the sound of his new stereo to Meg Ryan's character by playing a record of Jones' music.In 1997, singers Artie Schroeck and Linda November directed a production in Atlantic City entitled "The New City Slickers Present a Tribute to Spike Jones", with a band that attempted to re-create the style and humor of Jones' music.