2. An American doo wop group, whose lone hit was "Sh-Boom", ranked #215 on Rolling Stone's list of the 500 Greatest Songs Of All Time. The Chords were a 1950s American doo wop group, whose lone hit was "Sh-Boom". They are sometimes mistakenly cited as the first R&B group of the 1950s to reach the pop charts. Although both versions of the song Sh-Boom (by The Chords and by The Crew-Cuts) were huge hits, it is the song Gee, released by The Crows in June 1953, that is properly credited with the honor of being the first Rock n’ Roll hit by a rock and roll group. The Chords - Carl (lead) and Claude Feaster (baritone), Jimmy Keyes (first tenor), Floyd "Buddy" McRae (second tenor) and Ricky Edwards (bass) - formed in 1951 in the Bronx, New York, but were not discovered until three years later, when they were spotted singing in a subway station, a performance that ultimately landed them a recording contract with Atlantic Records' Cat Records label. Jerry Wexler, Atlantic's A&R man, had the Chords cover a Patti Page hit, "Cross Over the Bridge" (it was also covered by The Flamingos for the Chance Records label), but it was the B-side, "Sh-Boom," a vocal tune with an a cappella catchy introduction that caught the imagination. A cover version later done by a white group called The Crew-Cuts, attempted to add their own spin on the song by seemingly adding nonsensical syllables ("shh-boom, shh-boom, yadda da da yadda da da da da da") that caused considerably more commotion. However the words ("Yadda da da yadda da da da da da") were never sung in the original version by the Chords. By the end of June 1954, "Sh-Boom" had climbed up the charts nationwide, charting on both the R&B (number three) and pop (number nine) lists, a nearly unprecedented feat for its time. For all practical purposes - along with The Crows' 1954 hit "Gee" (another upbeat B-side hit that DJs flipped over) - "Sh-Boom" introduced the white audience to black R&B music for the first time. [NOTE: The Crows "Gee" first appeared on the Billboard charts in March, 1954. While both versions of "Sh-Boom" were influential, better candidates for the first, or most influential song, by a black act to cross-over from the R&B charts to the pop charts, are The Dominoes' "Sixty Minute Man" which made it to #17 of the pop charts in 1951, and The Orioles' "Crying in the Chapel", #11 in 1953]. Not everyone thought the song was a precursor of good things to come. Peter Potter, host of TV's popular "Juke Box Jury", was seemingly aghast at the state of this then-new trend in pop music and attacked "Sh-Boom" asking if anyone would remember the admittedly demented ditty in five, let alone 20 years time and whether any record label would even think to re-release it in the future. Atlantic released numerous additional singles which mostly failed to chart. A last gasp attempt to resurrect the act came in mid 1955 when the group renamed themselves the Sh-Booms after their one big hit. The Chords/Chordcats/Sh-Booms went through several personnel changes during the late 1950s, recording a handful of forgettable records for Vik Records in 1957, and eventually returned to Atlantic in 1960 for one last recording before slipping away into the ether of time.
1. The British 1979 Mod Revival band called "The Chords" consisted of Chris Pope, Martin Mason, Billy Hassett, and Brett Ascott. The Chords story starts with cousins Billy Hassett and Martin Mason rehearsing Beatles and Who songs, etc, together at school. Via a New Musical Express advert Chris Pope joins in January 1978. They spend the year writing, rehearsing and playing a couple of gigs. They also fail to become the band in Quadrophenia - too loud apparently!. With the dawn of 1979 Paul Halpin (the original drummer and eventual road manager) is replaced with Brett (Buddy) Ascott. Buddy adds the final element the band is looking for. A powerhouse drummer with far too much energy and a desire to be Keith Moon, Buddy is the final link in the chain. By the end of March the band are playing the Wellington in Waterloo to packed crowds. In the audience are Paul Weller, NME and Polydor. This helps the band secure more gigs and an important support slot to The Jam.
https://www.youtube.com/watch?v=9P9-swHFctk
http://www.discogs.com/artist/658528-Chords-The-2
http://en.wikipedia.org/wiki/The_Chords
http://www.chrishunt.biz/features54.html
http://www.trouserpress.com/entry.php?a=chords
http://www.thechords.co.uk/
https://myspace.com/thechordsuk
Don't Go Back
The Chords Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Guiltless and holy we'll be
Bring the sword of the giant I felled
There's none like it, give it to me
Deep in the cleft of a rock
Temptation surged like a flood
Dare I choose to repay
Don't let the sun go down on your anger
Embers of ire will burn you in sleep
Take of His grace, no anger will linger
Quenching the fire the devil does keep
Corner cut from his cloak
Hand stretched against my own king
Humbled, my heart left me smote
God forbid I should do such a thing
Anger I have, but anger I'm not
Free from its grip shall I be
Quench all its smoldering flame
Calm me by Your grace that flows free
Don't let the sun go down on your anger
Embers of ire will burn you in sleep
Take of His grace, no anger will linger
Quenching the fire the devil does keep
The first verse sets the scene with the imagery of five loaves in the singer's hand. The singer feels innocent and pure, and they refer to the sword they obtained after defeating a giant. They see this sword as unique and special, wanting to keep it for themselves.
In the second verse, the singer finds themselves in a difficult situation. They are tempted by something or someone, represented by the surge of temptation like a flood. They contemplate whether to seek revenge and repay evil with evil.
The third verse describes a moment of hesitation and reflection for the singer. They mention a corner cut from someone's cloak, a symbol of power or authority. They feel conflicted because they are tempted to act against their own king or leader, but they are deeply humbled and smitten by their own heart.
The final verse reflects the internal struggle of the singer. They acknowledge that they have anger within them, but they are determined not to let it control them. They yearn to be free from its grip and to extinguish its flame through the grace that comes from a higher power. The lyrics emphasize the importance of not letting anger consume one's thoughts and actions, reinforcing the idea that holding onto anger will only harm oneself in the end.
Line by Line Meaning
Five loaves set into my hand
I have been entrusted with abundance and blessings.
Guiltless and holy we'll be
We strive to live a righteous and blameless life.
Bring the sword of the giant I felled
Let me hold onto the victory I achieved by overcoming a great challenge.
There's none like it, give it to me
I value and desire the unique symbol of my triumph.
Deep in the cleft of a rock
In a place of seclusion and vulnerability.
Temptation surged like a flood
I was strongly tempted, overwhelmed by its force.
Dare I choose to repay
Should I consider seeking revenge as a response.
Evil for evil, vengeance of blood
Returning harm for harm, seeking bloody revenge.
Don't let the sun go down on your anger
Do not hold onto your anger and let it linger.
Embers of ire will burn you in sleep
If you hold onto anger, it will harm you even in your rest.
Take of His grace, no anger will linger
Receive God's grace, and anger will dissipate.
Quenching the fire the devil does keep
Suppressing the flames of anger that the devil tries to fuel.
Corner cut from his cloak
I committed an act against someone important.
Hand stretched against my own king
I acted in a hostile manner towards my leader.
Humbled, my heart left me smote
I felt deeply remorseful and regretful for my actions.
God forbid I should do such a thing
I pray that I never repeat such a grievous act.
Anger I have, but anger I'm not
Though I experience anger, it does not define me.
Free from its grip shall I be
I will break free from the hold of anger.
Quench all its smoldering flame
Put an end to the burning embers of anger.
Calm me by Your grace that flows free
May God's abundant grace bring me peace and tranquility.
Lyrics © MDFritz Records
Written by: Matthew Fritz
Lyrics Licensed & Provided by LyricFind
carmengiaa65
Essential!
Offramp Tavanipupu
This was the B-side, and it was much better than the A-side. It's not hard to fathom that this was written by the band's drummer. I saw the band play this many times live at The Wellington at Waterloo. They were a rocking power trio.
Richy Menezes
The bass player wrote this ..