Coming to prominence in the 1920s as an inventive trumpet and cornet player, Armstrong was a foundational influence in jazz, shifting the focus of the music from collective improvisation to solo performance. With his instantly-recognizable gravelly voice, Armstrong was also an influential singer, demonstrating great dexterity as an improviser, bending the lyrics and melody of a song for expressive purposes. He was also skilled at scat singing (vocalizing using sounds and syllables instead of actual lyrics).
Renowned for his charismatic stage presence and voice almost as much as for his trumpet-playing, Armstrong's influence extends well beyond jazz music, and by the end of his career in the 1960s, he was widely regarded as a profound influence on popular music in general. Armstrong was one of the first truly popular African-American entertainers to "cross over", whose skin-color was secondary to his music in an America that was severely racially divided. He rarely publicly politicized his race, often to the dismay of fellow African-Americans, but took a well-publicized stand for desegregation during the Little Rock Crisis. His artistry and personality allowed him socially acceptable access to the upper echelons of American society that were highly restricted for a black man.
Armstrong was born and brought up in New Orleans, a culturally diverse town with a unique musical mix of creole, ragtime, marching bands, and blues. Although from an early age he was able to play music professionally, he didn't travel far from New Orleans until 1922, when he went to Chicago to join his mentor, King Oliver. Oliver's band played primitive jazz, a hotter style of ragtime, with looser rhythms and more improvisation, and Armstrong's role was mostly backing. Slow to promote himself, he was eventually persuaded by his wife Lil Hardin to leave Oliver, and In 1924 he went to New York to join the Fletcher Henderson Orchestra. At the time, there were a few other artists using the rhythmic innovations of the New Orleans style, but none did it with the energy and brilliance of Armstrong, and he quickly became a sensation among New York musicians. Back in Chicago in 1925, he made his first recordings with his own group, Louis Armstrong and his Hot Five, and these became not only popular hits but also models for the first generation of jazz musicians, trumpeters or otherwise.
Other hits followed through the twenties and thirties, as well as troubles: crooked managers, lip injuries, mob entanglements, failed big-band ventures. As jazz styles changed, though, musical purists never lost any respect for him -- although they were sometimes irritated by his hammy onstage persona. Around the late forties, with the help of a good manager, Armstrong's business affairs finally stablilized, and he began to be seen as an elder statesman of American popular entertainment, appearing in Hollywood films, touring Asia and Europe, and dislodging The Beatles from the number-one position with Hello Dolly". Today many people may know him as a singer (a good one), but as Miles Davis said: “You can’t play nothing on modern trumpet that doesn’t come from him."
The 62-year-old Armstrong became the oldest act to top the US charts when "Hello Dolly" reached #1 in 1964. Four years later Satchmo also became the oldest artist to record a UK #1, when "What a Wonderful World" hit the top spot.
Lets Call the Whole Thing Off
Louis Armstrong Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Our romance is growing flat
For you like this and the other
While I go for this and that
Goodness knows what the end will be
Oh I don't know where I'm at
It looks as if we two will never be one
You say either and I say either
You say neither and I say neither
Either, either neither, neither
Let's call the whole thing off
You like potato and I like potahto
You like tomato and I like tomahto
Potato, potahto, tomato, tomahto
Let's call the whole thing off
But oh, if we call the whole thing off
Then we must part
And oh, if we ever part
then that might break my heart
So if you like pyjamas and I like pyjahmas
I'll wear pyjamas and give up pyajahmas
For we know we need each other so we
Better call the whole thing off
Let's call the whole thing off
You say laughter and I say larfter
You say after and I say arfter
Laughter, larfter after arfter
Let's call the whole thing off
You like vanilla and I like vanella
You saspiralla, and I saspirella
Vanilla vanella chocolate strawberry
Let's call the whole thing off
But oh if we call the whole thing off
then we must part
And oh, if we ever part,
then that might break my heart
So if you go for oysters and I go for ersters
I'll order oysters and cancel the ersters
For we know we need each other so we
Better call the calling off off
Let's call the whole thing off
You say either (and you say either)
You say neither (and you say neither)
Either, (either), neither (neither)
Let's call the whole thing off
You like potato (and you like potahto)
You like tomato (and you like tomahto)
Potato (potahto), tomato (tomahto)
Let's call the whole thing off
But oh, if we call the whole thing off
Then we must part
And oh, if we ever part
then that might break my heart
So if you like pyjamas (pyjahmas)
I'll wear pyjamas (you got pyajahmas)
For we know we need each other so we
Better call the calling off off
Let's call the whole thing off
Let's call the whole thing off
The song "Let's Call the Whole Thing Off" is a playful duet about a couple whose romance has hit a rough patch. The couple disagree on many things, from the pronunciation of words like "potato" and "tomato" to more significant issues like their tastes in food and hobbies. The song essentially suggests that the couple may not be compatible at all and may need to end things altogether. However, the song also highlights the fact that the couple acknowledges that they need each other and their love for each other allows them to make compromises and move forward together.
The song is an iconic duet between Louis Armstrong and Ella Fitzgerald and was written by famous songwriter George Gershwin. The song gained popularity in 1937 and has since been performed by various artists. The lyrics of the song are witty and humorous, but they also reveal some truths about human relationships. The song is a commentary on communication and the importance of understanding each other in relationships. The way we say things or the things we like may not be as important as the fact that we are willing to make compromises for those we love.
Line by Line Meaning
Things have come to a pretty pass
Our relationship has reached a difficult point
Our romance is growing flat
Our love has become dull and uninspiring
For you like this and the other
You have one set of preferences, while I have another
While I go for this and that
Our differing preferences are causing issues in our relationship
Goodness knows what the end will be
We are uncertain about the outcome of our relationship
Oh I don't know where I'm at
I am unsure about my feelings and my place in this relationship
It looks as if we two will never be one
It seems that we will never be able to fully agree or be fully harmonious together
Something must be done
We need to take action to address the issues in our relationship
You say either and I say either
We pronounce the word 'either' differently
You say neither and I say neither
We pronounce the word 'neither' differently
Either, either neither, neither
We have different ways of saying the same words
Let's call the whole thing off
We should end the relationship because of our differing opinions and preferences
You like potato and I like potahto
We have different ways of saying the same word
You like tomato and I like tomahto
We have different ways of saying the same word
Potato, potahto, tomato, tomahto
We have different ways of saying the same things, but they mean the same thing
But oh, if we call the whole thing off
If we end the relationship
Then we must part
We will have to break up
And oh, if we ever part
If we break up
then that might break my heart
It could be very painful and sad for me
So if you like pyjamas and I like pyjahmas
If we have different preferences
I'll wear pyjamas and give up pyajahmas
I will compromise and wear what you prefer
For we know we need each other so we
We know we are better together
Better call the whole thing off
We should not end our relationship, but rather find ways to compromise and make it work
You say laughter and I say larfter
We pronounce the word 'laughter' differently
You say after and I say arfter
We pronounce the word 'after' differently
Laughter, larfter after arfter
We have different ways of saying the same things, but they mean the same thing
You like vanilla and I like vanella
We have different ways of saying the same word
You saspiralla, and I saspirella
We have different ways of saying the same word
Vanilla vanella chocolate strawberry
We have different preferences, but they are not all that important in the grand scheme of things
So if you go for oysters and I go for ersters
If we have different preferences
I'll order oysters and cancel the ersters
I will compromise and order what you prefer
Let's call the calling off off
Let's not end our relationship after all
Lyrics © BMG Rights Management, Universal Music Publishing Group, Royalty Network, Warner Chappell Music, Inc.
Written by: IRA GERSHWIN, GEORGE GERSHWIN
Lyrics Licensed & Provided by LyricFind
@Mr-yo9xj
Lyrics:
Things have come to a pretty pass
Our romance is growing flat,
For you like this and the other
While I go for this and that,
Goodness knows what the end will be
Oh I don't know where I'm at
It looks as if we two will never be one
Something must be done:
You say either and I say either,
You say neither and I say neither
Either, either neither, neither
Let's call the whole thing off.
You like potato and I like potahto
You like tomato and I like tomahto
Potato, potahto, tomato, tomahto.
Let's call the whole thing off
But oh, if we call the whole thing off
Then we must part
And oh, if we ever part, then that might break my heart
So if you like pyjamas and I like pyjahmas,
I'll wear pyjamas and give up pyajahmas
For we know we need each other so we
Better call the whole thing off
Let's call the whole thing off.
You say laughter and I say larfter
You say after and I say arfter
Laughter, larfter after arfter
Let's call the whole thing off,
You like vanilla and I like vanella
You saspiralla, and I saspirella
Vanilla vanella chocolate strawberry
Let's call the whole thing off
But oh if we call the whole thing of then we must part
And oh, if we ever part, then that might break my heart
So if you go for oysters and I go for ersters
I'll order oysters and cancel the ersters
For we know we need each other so we
Better call the calling off off,
Let's call the whole thing off.
I say father, and you say pater,
I saw mother and you say mater
Pater, mater uncle, auntie let's call the whole thing off.
I like bananas and you like banahnahs
I say havana and I get havahnah
Bananas, banahnahs havana, havahnah
Go your way, I'll go mine
So if I go for scallops and you go for lobsters,
So all right no contest we'll order lobseter
For we know we need each other so we
Better call the calling off off,
Let's call the whole thing off.
@finnmchugh99
While people talk about Venom, I sit here after playing the Google Doodle Savoy Ballroom
@JulianCedar
Same here
@thefungiwhisperer2313
hahaha, I'm at galaxy brain level, I'm here for both
@Eifelwolle
same, i recorded it while my internet went out so i used the extension to play the game
@jollies4780
Same lol
@steviasng863
Me too 😂
@evioivy7080
this sounds like something my symbiotic parasite would sing to while making breakfast.
@CreatureCal
PARASITE?! Apologize!!!
@Mugshot_Productions
No!
@emperorryanii
PARASITE?! Apologize!!!