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.
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Louis Armstrong Lyrics
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Skoki-skoki-aan
Okey-dokey, anybody can
Oh-oh, far away in Africa
Happy, happy Africa
They sing a-bing-a-bang-a-bingo
They have a ball and really go
Skokiaan
Oh-oh, take a trip to Africa
Take any ship to Africa
Come on along and learn the lingo
Beside a jungle bungalow
Hot drums are drumming, the
Hot strings are strumming, and
Warm lips are blissful, they're
Kissful of Skokiaan
Oh-oh, if you go to Africa
Happy, happy, Africa
You live along like a king-o
Right in the jungle bungalow
Skoki-skoki
Skoki-skoki-aan
Okey-dokey, anybody can
(Skoki-skoki) man, oh man, oh man
You sing a-bing-a-bang-a-bingo
In hokey-pokey Skokiaan
The lyrics to Louis Armstrong's Skokiaan are a whimsical and joyous invitation to take a trip to Africa and experience the lively music and atmosphere of the continent. The song reflects a nostalgic yearning and fascination for the exotic and unknown, as well as a genuine appreciation for the music and culture of Africa. It speaks of wild dancing, hot drums, and warm kisses, conjuring up a vivid picture of a carefree, happy-go-lucky existence in a far-off exotic land.
The repeated refrain of "Skoki-skoki, skoki-skoki-aan, okey-dokey, anybody can" is a playful call to action, inviting anyone and everyone to join in the fun and dance to the lively rhythms of the Skokiaan. The lyrics also play on the idea of a universal language, suggesting that even if one doesn't speak the local lingo, the music and dance can transcend language barriers and bring people together in a shared celebration.
Overall, the song captures the spirit of adventure and discovery, as well as the joyous, life-affirming power of music and dance. It is a testament to the enduring appeal and influence of African culture and music, and a celebration of the human spirit's inexorable quest for happiness, connection, and self-expression.
Line by Line Meaning
Skoki-skoki
A rhythmic chant used to indicate the start of the song, representing the excitement of the music.
Skoki-skoki-aan
A variation of the previous chant, adding even more excitement to the song.
Okey-dokey, anybody can
An invitation for anyone to join in the festivities and enjoy the music.
Oh-oh, far away in Africa
A reference to the source of the music and the inspiration for the song.
Happy, happy Africa
A celebration of the joy and happiness that comes from the music and culture of Africa.
They sing a-bing-a-bang-a-bingo
A description of the lively and energetic music and singing that takes place in Africa.
They have a ball and really go
A statement of how much fun and enjoyment is had by all who participate in the music and culture of Africa.
Skokiaan
A word that likely refers to the style of music being performed, or perhaps a specific song that served as an inspiration for Armstrong's composition.
Oh-oh, take a trip to Africa
An invitation to experience the music and culture of Africa firsthand, and to appreciate its beauty and vitality.
Take any ship to Africa
A practical suggestion for how one might go about making the journey to Africa.
Come on along and learn the lingo
A call to action, urging listeners to immerse themselves in the language and culture of Africa in order to better appreciate the music.
Beside a jungle bungalow
A description of the setting for the music and culture of Africa, conjuring images of lush jungles and comfortable bungalows.
Hot drums are drumming, the
A vivid description of the pulsing, rhythmic beat of African music, provided by the drums.
Hot strings are strumming, and
A continuation of the description of the music, highlighting the role that string instruments play in creating its distinctive sound.
Warm lips are blissful, they're
A reference to the passion and emotion that are conveyed through the music, represented by the image of lips that are warm with feeling.
Kissful of Skokiaan
A playful and poetic way of describing the emotional intensity of the music, comparing it to a kiss.
You live along like a king-o
A suggestion that those who embrace the music and culture of Africa will be rewarded with a rich and fulfilling lifestyle.
Right in the jungle bungalow
A continuation of the earlier description of the setting for the music and culture of Africa, reiterating the allure of this exotic and exciting place.
(Skoki-skoki) man, oh man, oh man
A joyful, rhythmic chant that serves as a kind of refrain or chorus, adding even more excitement and energy to the song.
You sing a-bing-a-bang-a-bingo
A playful and catchy way of describing the lively and infectious music of Africa.
In hokey-pokey Skokiaan
A lighthearted reference to the fun and whimsical nature of the music, suggesting that it is a joyous and carefree experience.
Lyrics © Downtown Music Publishing, RESERVOIR MEDIA MANAGEMENT INC
Written by: August Msururgwa, Tom Glazer
Lyrics Licensed & Provided by LyricFind
Anonymous
on What A Wonderful World
What A Wonderful World - Casey Abrams - Lyrics
I see trees of green
Red roses too
I see them bloom
For me and you
And I think to myself
What a wonderful world
I see skies of blue
And clouds of white
The bright blessed day
The dark sacred night
And I think to myself
What a wonderful world
The colors of the rainbow
So pretty in the sky
Are also on the faces
Of people going by
I see friends shaking hands
Singing how do you do
They're really singing
I love you
I hear babies cry
I watch them grow
They'll learn much more
Than I'll ever know
And I think to myself
What a wonderful world
Musical Interlude
The colors of the rainbow
So pretty in the sky
Are also on the faces
Of people going by
I see friends shaking hands
Singing how do you do
They're really singing
I love you
I hear babies cry
I watch them grow
They goin’ learn much more
Than I'll ever know
And I think to myself
What a wonderful world
I think to myself
What a wonderful world