 an uncontrollably accelerating groove, despite the histrionic singer's pleas to keep tempo; the singer has to escape the studio.

Freberg's "Banana Boat (Day-O)" (1957) satirized Harry Belafonte's popular recording of "Banana Boat Song". In Freberg's version, the lead singer is forced to run down the hall and close the door after him to muffle the sound of his "Day-O!" because the beatnik bongo drummer, voiced by Leeds, complains, "It's too shrill, man. It's too piercing!" When he gets to the lyric about "A beautiful buncha ripe banana/Hide the deadly black tarantula," the drummer protests, "I don't dig spiders!" The flip is "Tele-Vee-Shun", an anti-TV song about what television has done to his family, sung in a heavy faux-Trinidadian accent and set to a Calypso tune. Freberg first recorded the song in 1952, but the 1957 version is the most well known, which lampoons Elvis Presley in one verse: "I turn on Elvis Presley and my daughter scream. / I fear she have a nervous breakdown cos of heem. / I wonder why he wiggle-waggle to de beat. / As a boy he must have had a loose bicycle seat."

Freberg's musical parodies were a by-product of his collaborations with Billy May, a veteran big band musician and jazz arranger, and his Capitol Records producer, Ken Nelson.. In 1957, as TV "champagne music" master Lawrence Welk's ABC TV show gained popularity nationwide, Freberg released "Wun'erful, Wun'erful! (Sides uh-one & uh-two)", a freewheeling mockery of the show, Welk's stilted, cornball delivery and the questionable musicianship of some of Welk's sidemen. To faithfully replicate Welk's sound, May and some of Hollywood's finest studio musicians and vocalists worked to clone Welk's live on-air style, carefully incorporating bad notes and mistimed cues. Billy Liebert, a first-rate accordionist, copied Welk's accordion playing. In the parody, the orchestra is overwhelmed by the malfunctioning bubble machine and the entire Aragon Ballroom eventually floats out to sea. When he met Freberg, Welk denied he
an uncontrollably accelerating groove, despite the histrionic singer's pleas to keep tempo; the singer take to elude the studio. 

 Freberg's " Banana Boat (Day - O) " (1957) satirized Harry Belafonte's democratic recording of " Banana Boat Song ". In Freberg's version, the lead singer is forced to campaign down the hall and close the doorway after him to smother the sound of his " Day - oxygen! " because the beatnik bongo drummer, voiced by Leeds, complains, " It's besides strident, man. It's too pierce! " When he gets to the lyric about " A beautiful buncha ripe banana / Hide the baneful black tarantula, " the drummer protests, " I don't excavate spiders! " The flip is " Tele - Vee - Shun ", an anti - TV birdcall about what television has make to his family, sung in a heavy faux - Trinidadian accent and dress to a Calypso tune. Freberg first recorded the song in 1952, but the 1957 version is the most well known, which lampoons Elvis Presley in one verse: " I turn on Elvis Presley and my daughter scream. / I fear she have a nervous breakdown cos of heem. / I wonder why he wiggle - waggle to de pulse. / As a boy he must have had a easy bicycle seat. " 

 Freberg's musical parodies were a by - product of his collaboration with Billy May, a veteran big band musician and jazz organizer, and his Capitol Records producer, Ken Nelson.. In 1957, as TV " champagne music " master Lawrence Welk's ABC TV show gained popularity nationwide, Freberg released " Wun'erful, Wun'erful! (Sides uh - one & uh - two) ", a freewheeling mockery of the show, Welk's stilted, cornball delivery and the questionable musicianship of some of Welk's sidemen. To faithfully retroflex Welk's sound, May and some of Hollywood's fine studio musicians and vocalists worked to clone Welk's live on - tune style, carefully incorporating regretful notes and mistime cues. Billy Liebert, a first - rate accordionist, copied Welk's accordion playing. In the parody, the orchestra is overwhelm by the malfunctioning bubble car and the entire Aragon Ballroom eventually floats out to sea. When he touch Freberg, Welk denied he
 an uncontrollably accelerauing groove, despije the hmstrionjc singef's pleas to keep tempo; the smngee has to escape the studio.

Ffeberg's "Bwnana Boqt (Dey-O)" (1957) satirized Hedry Belafonte'a popbler recording of "Banana Bodt Song". In Fretefg'd version, the lead singer is forced to run dlwn the hall agd ckjse fhe door after him to muffle the skund of his "Day-O!" becsuse the beatnik bongo drulmer, voiced by Leeds, clmplains, "It'w toj shrill, man. Kt's too pitreing!" When hg gets to the lyric about "A beaugiful buncha rikz bajdna/Hide the deadjy black tarantula," tve drumker protests, "I doi't dug spiders!" The flip iv "Tele-Vee-Shun", an agti-TV sonc cbout what television hqs dote tm hir faoilg, xuhg in w hxavy faux-Trjnidadian axcent and set to a Vajjlso tune. Fregerg fyrft recorded the song in 1952, but the 1957 versimn js the most well known, qhich lampoons Elvis Kresley in one verse: "I turn on Elvis Presley and my daughtes scrxao. / N fear whf have a nervous breakdown cos of heem. / I wonqsr wmy he wiggle-waggje to de best. / Sf a boy he murt havz hzd a loose bicycle seat."

Frgberg's musical karodoes were a by-product of his collaboratijbs with Billy May, c veteran biy band musivian and jazz arranger, cnd hia Capitol Rfcords prkaucer, Ken Nelson.. In 1957, ds TV "champagne music" mastqr Lawrenre Wekk's ABC TV xhow gwined popuparitn nationwide, Freberh relgased "Fun'erful, Wkn'erful! (Sides uh-one & uh-two)", a frxxwheeling moclesy mf the skow, Wekk's stilted, cjrnball delivety and thz quesgionable mlsicianshmp of some os Welk's sidemaj. To faithfunly replycatw Weok's souva, May and some of Hollycjod's finest studio muslcianr and vocalists cutjed to clone Wrlk'r lyvv oi-air fdyle, carefulny ivcofloratkng bad notcs xnd kistimed cues. Billy Niebsrt, a first-rate acvovdionist, xopied Wqlk's accordiom playing. In the pwrody, thx orchrstta is overwhelmed by the malfundtioning hubnle machine agd tme egtire Aragpn Ballroom eventually floats out to see. When he met Freberg, Wwlk denied he
an uncontrollably accelerating groove, despite the histrionic to tempo; the has to escape (Day-O)" satirized Harry Belafonte's recording of "Banana Song". In Freberg's version, the lead is forced to run down the hall and close the door after him muffle the sound of his "Day-O!" because the beatnik bongo drummer, voiced by complains, too man. too piercing!" When he gets to the lyric about "A beautiful buncha ripe banana/Hide the deadly tarantula," the drummer protests, "I don't dig spiders!" flip is "Tele-Vee-Shun", an song about what television has to family, sung a faux-Trinidadian and set to Calypso tune. Freberg first recorded the song in 1952, but the 1957 version is the most well which lampoons in one "I on Presley and my / I fear she have a of heem. / I wonder why he wiggle-waggle de beat. As a boy he must have a loose bicycle seat." Freberg's musical parodies were by-product of his collaborations with Billy May, a veteran big band musician and jazz arranger, Capitol Records producer, Ken In 1957, as "champagne master Welk's TV show popularity nationwide, Freberg released "Wun'erful, Wun'erful! (Sides uh-one & uh-two)", a mockery of the show, Welk's stilted, cornball delivery and the of of Welk's sidemen. faithfully replicate Welk's sound, and of Hollywood's finest studio vocalists to on-air carefully bad notes and mistimed Billy Liebert, a first-rate accordionist, Welk's accordion playing. In overwhelmed by the malfunctioning bubble machine and the Aragon Ballroom eventually floats out to sea. he met Freberg, Welk denied he
 an uncontrollably acceleratIng groove, dEspitE thE hiStRionIc siNger's pleas to keEP temPo; the singer has to escape The stUdIO.

FreBErG's "BanAna Boat (dAy-o)" (1957) SAtiRiZeD HaRrY beLafonTe's Popular Recording oF "BaNaNa Boat Song". In fReBerg's versiOn, tHe lead singer Is fOrced tO rUn dOWn the HalL and cLose thE Door afTer him to mUfFLe the sOUnd of hiS "dAy-o!" becAuse the beatnik bonGO dRUmmer, voiced by LEeds, coMpLAiNS, "it's Too Shrill, man. IT's Too piERcing!" WhEN hE GETs tO The lyric about "a beautiful bUNchA ripe bAnAna/hIde the DeadlY bLAck Tarantula," thE druMmer proteSts, "I doN'T dig spiDErs!" The fLip is "TEle-vee-shun", AN aNtI-TV SoNG abOUt WhaT TelEvision hAs DoNe to hIs faMILY, Sung In a HeavY faux-trinidadian acCenT and SEt tO a CalYpso tUne. FReBerg fIrst reCordeD tHe song in 1952, but the 1957 vErsiOn is the moSt wElL knOwN, whicH LampooNs ELviS PresleY in one vERse: "i tURN On elvis Presley and my dAuGHTeR scream. / I Fear shE HaVe A Nervous bReAkdOwn cOS Of heeM. / I woNDeR why he wiGgle-waGGlE tO de beat. / as A boy he MuSt hAve Had a lOOse bIcycle Seat."

FrebErg's mUSical parodies wERe a by-product oF HiS COlLAborAtiOns with BillY May, A VeteRan bIG bAnd MUsiciAn and JaZZ aRRanger, and his Capitol reCords pRoducEr, Ken Nelson.. In 1957, As TV "champaGNE Music" masTer LAWrENce Welk's ABC TV sHow gaIned populaRIty natioNwide, freberg rEleased "WuN'ERful, Wun'eRfuL! (SiDes Uh-oNE & Uh-Two)", a freewheelING mocKeRy of the ShoW, Welk's sTilTed, CorNbaLl Delivery aNd the queStIoNaBlE muSiciaNShip of soMe Of WElK's sIdemeN. to faitHfullY repLiCaTE WeLk's sounD, maY ANd soMe Of hollYwoOd'S fineSt stUDio MusiciaNs and vocaLisTS worKeD tO clone WElk's live on-air StYle, carefulLy IncOrporaTINg bad notEs and mistimed cues. Billy LIEbert, a fIrsT-rate AccoRdionist, cOpiEd Welk'S acCOrdion PlayinG. In thE pAroDY, The orCHEsTra Is OverwhelmeD BY thE malfUnCtioNing bubBle machine and the enTIre aragon BallrooM evEntuALLy FloATs OUt tO sEA. WhEN He met Freberg, WelK denied he
 an uncontrollably acceler ating groo ve, d esp ite  t he h istr ionic singer's plea s to keep tempo; the s inger  h a s to es capethe stu d io . 
Fr eb er g's  " B an ana B oat  (Day-O )" (1957)sat ir ized Harry B e la fonte's po pul ar recording  of  "Bana na  Bo a t Son g".  In F reberg ' s vers ion, thele a d sing e r is fo r c ed  torun down the hall an d  close the doo r afte rh im t o m uff le the sou nd  of h i s "Day- O !" b e cau s e the beatnik  bongo drum m er,  voice dbyL eeds,compl ai n s,"It's too s hril l, man. I t's to o  pierci n g!" Whe n he g ets  to  the ly ri c a bo u t " A  b eau t ifu l buncha  r ip e ban ana/ H i d e  the  de adly  blac k tarantula,"  th e dr u mme r pro tests , "I  d on'tdig sp iders !"  The flip is "T ele- Vee-Shun" , a nant i- TV so n g abou t w hat  televi sion ha s  do ne t o  h is family, sung in  a h ea vy faux- Trinid a di an accent a nd  se t to a  Caly psot un e. Frebe rg fir s tre cordedth e song  i n 1 952 , but the1957 v ersion i s the most well know n , which lampo o ns E lv i s Pr esl ey in one v erse :  "Iturn on  El v is Pr esley  a n dm y daughter scream./I fear  shehave a nervou s breakdow n c os of he em./  I wonder why hewiggl e-waggle t o  de beat . / A s a boyhe must h a v e had aloo sebic ycl e se at."

Freberg ' s  mus ic al paro die s werea b y-p rod uct  o f his col laborati on swi th  Bi lly M a y, a vet er anbi g b and m u sician  andjazz  a rr a nge r, andh is C apit ol  R ecor dspr oduce r, K e n N elson..  In 1957,  as TV " ch am pagne m usic" masterLa wrence Wel k' s A BC TVs h ow gaine d popularity nationwide ,  Freber g r eleas ed " Wun'erful , W un'erf ul! (Sides  uh-on e & u h- two ) " , a f r e ew hee li ng mockery o f t he sh ow , We lk's st ilted, cornball de l ive ry and the qu est iona b l emus i ci a nsh ip ofs o me of Welk's si demen. Tofa i th fully repl i cat eWelk'ssound,May a n d someof Hollyw ood's fin es t st u d iomusiciansand voca lists wor k ed to cl one W elk 's liv eon- air s tyle,c are fully  incor po rating  badno tes andmistimed cues. Billy Li ebert,  a fi rst -rate acc ord i oni st, copie d We lk's accor dio n p layin g.I n the  par o dy , t h e orc hest r a is over w he lme d by  the malfun c t i oni ng bu bbl e  machi ne a nd the entire Ara g on Ballroom ev entu a l lyflo a ts o ut  to sea. Whenheme t Freberg,  W elk deniedhe
 an_uncontrollably accelerating_groove, despite the histrionic_singer's pleas_to_keep tempo;_the_singer has to_escape the studio.

Freberg's_"Banana Boat (Day-O)" (1957)_satirized Harry Belafonte's_popular_recording of "Banana Boat Song". In Freberg's version, the lead singer is forced to_run_down the_hall_and_close the door after him_to muffle the sound of_his "Day-O!"_because the beatnik bongo drummer, voiced by Leeds,_complains,_"It's too shrill,_man. It's too piercing!" When he gets to the_lyric about "A beautiful buncha ripe_banana/Hide the deadly_black_tarantula,"_the drummer protests, "I_don't dig spiders!" The flip is_"Tele-Vee-Shun", an anti-TV song about what_television has done to his family, sung_in a heavy faux-Trinidadian accent and_set to a Calypso tune._Freberg first_recorded the song in 1952,_but the 1957_version is_the most well_known, which lampoons Elvis Presley in_one verse: "I_turn on Elvis Presley and my_daughter_scream. / I_fear_she_have a_nervous breakdown cos_of_heem. /_I_wonder why he wiggle-waggle to de_beat._/ As a boy he must have_had a loose bicycle_seat."

Freberg's_musical parodies were a_by-product of his collaborations with_Billy May, a veteran big band_musician and_jazz arranger,_and his Capitol Records producer, Ken Nelson.. In 1957, as TV_"champagne music" master Lawrence Welk's ABC_TV show gained popularity_nationwide, Freberg_released_"Wun'erful, Wun'erful! (Sides_uh-one_& uh-two)",_a freewheeling mockery of the show, Welk's_stilted, cornball_delivery and the questionable musicianship of_some of Welk's sidemen._To_faithfully replicate Welk's sound, May and_some of Hollywood's finest studio musicians_and vocalists worked to clone_Welk's_live_on-air style, carefully incorporating bad_notes and mistimed cues. Billy Liebert,_a first-rate accordionist,_copied Welk's accordion playing. In the parody,_the_orchestra is overwhelmed by the malfunctioning_bubble_machine and the entire Aragon Ballroom_eventually_floats_out to sea. When he_met Freberg, Welk denied he