The Big Hurt (song): Difference between revisions
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{{Infobox song |
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| ⚫ | "'''The Big Hurt'''" is a pop song |
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| name = The Big Hurt |
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| cover = |
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| alt = |
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| type = single |
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| artist = [[Toni Fisher]] |
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| album = |
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| B-side = Memphis Belle |
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| released = September 1959 |
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| recorded = 1959 |
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| studio = [[Gold Star Studios|Gold Star]] ([[Hollywood, Los Angeles|Hollywood]]) |
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| venue = |
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| genre = [[Pop music|Pop]] |
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| length = 2:09 |
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| label = Signet |
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| writer = [[Wayne Shanklin]] |
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| producer = Wayne Shanklin |
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}} |
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| ⚫ | "'''The Big Hurt'''" is a pop song that was a hit for [[Toni Fisher]] (billed as "Miss Toni Fisher") in 1959. The song was written by [[Wayne Shanklin]]. "The Big Hurt" is notable because it featured [[phasing|phasing effects]] which at that time were rare in popular music; [[DJ]] [[Dick Biondi]] on [[WWKB|WKBW]] would introduce the record as "Toni Fisher's weird one." |
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==Music== |
==Music== |
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The 45 rpm plays in C major, even though on the sheet music (copyright 1959 by Music Productions, Hollywood, CA), the song is in the key of F major. The [[time signature]] is 4/4, and the [[tempo]] is indicated as "Moderate [[Beguine]] Tempo." The melody begins with a triplet on beats three and four, a motif that appears throughout the song in every second measure. In the other measures, however, the duple meter is reinforced by using eighth notes in the same location, presumably to prevent the tune from becoming a [[waltz]].<ref name="score">Piano-vocal score (Hollywood, CA: Music Productions, 1959).</ref> Although |
The 45 rpm single plays in C major, even though on the sheet music (copyright 1959 by Music Productions, Hollywood, CA), the song is in the key of F major. The [[time signature]] is 4/4, and the [[tempo]] is indicated as "Moderate [[Begin the Beguine|Beguine]] Tempo." The melody begins with a triplet on beats three and four, a motif that appears throughout the song in every second measure. In the other measures, however, the duple meter is reinforced by using eighth notes in the same location, presumably to prevent the tune from becoming a [[waltz]].<ref name="score">Piano-vocal score (Hollywood, CA: Music Productions, 1959).</ref> Although Toni Fisher does use the triplet in her performance on the record, she takes liberties with it and often uses some form of duple rhythm. She also deviates here and there from the notes as written, but well within the usual range employed by singers for expressive purposes. |
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The main harmonic idea uses the [[tonic (music)|tonic]] chord alternating with the [[Neapolitan chord]] (the flattened [[supertonic]] major chord). (The sheet music has an error that occurs three times, but in the chord symbols only, not in actual piano notation: the A flat [[diminished chord]] should really be the E [[major chord]] with a G# [[bass note]].) The release (contrasting middle section) is in the key of A flat.<ref name="score" /> |
The main harmonic idea uses the [[tonic (music)|tonic]] chord alternating with the [[Neapolitan chord]] (the flattened [[supertonic]] major chord). (The sheet music has an error that occurs three times, but in the chord symbols only, not in actual piano notation: the A flat [[Diminished triad|diminished chord]] should really be the E [[major chord]] with a G# [[bass note]].) The release (contrasting middle section) is in the key of A flat.<ref name="score" /> |
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==Effects== |
==Effects== |
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American music industry veterans David S. Gold and Stan Ross, founders of the renowned [[Gold Star Studios]] in Hollywood, claim that "The Big Hurt" was the first commercial recording to feature a technique (or effect) now known as [[flanging]]. This "jet plane-like" sound effect may also be familiar to those who have listened to long |
American music industry veterans David S. Gold and Stan Ross, founders of the renowned [[Gold Star Studios]] in Hollywood, claim that "The Big Hurt" was the first commercial recording to feature a technique (or effect) now known as [[flanging]]. This "jet plane-like" sound effect may also be familiar to those who have listened to long-distance shortwave radio music broadcasts. (In radio, this effect was the result of multipath interference and varying propagation times.) To some, the [[flanging]] effect made this record sound like a distant shortwave broadcast. |
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In a 1968 report on [[sound effect]]s in pop for ''[[Beat Instrumental]]'', Crotus Pike wrote that Fisher's hit "was almost phased from start to finish. The result was like listening to an erratic [[radio signal|signal]] on [[shortwave radio|short wave radio]]." He wrote that the effect "turned a fairly ordinary song into a million seller", and also noted the precedent it set for [[the Small Faces]]' "[[Itchycoo Park]]" and [[Cat Stevens]]' "A Bad Night" (both 1967).<ref name="Pike">{{cite journal |last1=Pike |first1=Crotus |title=Sound Effects |journal=Beat Instrumental |date=January 1968 |page=17 |url=https://worldradiohistory.com/hd2/IDX-UK/Music/Beat-Instrumental/Beat-Instrumental-1968-01-IDX-17.pdf#search=%22sound%20effect%22 |access-date=August 16, 2023}}</ref> |
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==Chart performance== |
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The song went to No. 3 on the [[Billboard Hot 100|''Billboard'' Hot 100]] music chart in the [[United States]]<ref>[[Joel Whitburn|Whitburn, Joel]] (2004). ''The Billboard Book of Top 40 Hits'', 8th Edition (Billboard Publications), page 226.</ref> |
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as well as going to No.16 on the [[Hot R&B/Hip-Hop Songs|Hot R&B Sides]] chart.<ref>{{cite book |title= Top R&B/Hip-Hop Singles: 1942-2004|last=Whitburn |first=Joel |author-link=Joel Whitburn |year=2004 |publisher=Record Research |page=204}}</ref> Outside the US, "The Big Hurt" went to No. 30 in the UK<ref>{{Cite web|url=https://www.officialcharts.com/artist/8021/toni-fisher/|title=TONI FISHER | full Official Chart History | Official Charts Company|website=Officialcharts.com|access-date=26 April 2021}}</ref> |
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==Covers== |
==Covers== |
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The song was covered numerous times in the mid-to-late-1960s, by artists as diverse as |
The song was covered numerous times in the mid-to-late-1960s, by artists as diverse as: |
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*Jazz musician [[Bobby Hutcherson]] |
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*Susan Rafey |
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*[[Scott Walker (singer)|Scott Walker]] |
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*[[Del Shannon|Del Shannon's]] 1966 version reached No. 94 on the Hot 100 (his only charted single on Liberty Records). Shannon's version, produced by Snuff Garrett, also included the phasing effects. |
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*[[Wes Montgomery]] recorded this with violins carrying the phase-effect part. |
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*In 1984, the San Francisco-based, dance group, Bearesssense had a minor club hit with their version.<ref>{{cite book |title= Hot Dance/Disco: 1974-2003|last=Whitburn |first=Joel |author-link=Joel Whitburn |year=2004 |publisher=Record Research |page=31}}</ref> |
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==References== |
==References== |
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{{ |
{{Reflist}} |
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{{Authority control}} |
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| ⚫ | |||
| ⚫ | |||
[[Category:1959 singles]] |
[[Category:1959 singles]] |
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[[Category:1966 singles]] |
[[Category:1966 singles]] |
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[[Category:Scott Walker (singer) songs]] |
[[Category:Scott Walker (singer) songs]] |
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[[Category:1959 songs]] |
[[Category:1959 songs]] |
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{{pop-song-stub}} |
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Latest revision as of 13:39, 22 August 2024
| "The Big Hurt" | |
|---|---|
| Single by Toni Fisher | |
| B-side | "Memphis Belle" |
| Released | September 1959 |
| Recorded | 1959 |
| Studio | Gold Star (Hollywood) |
| Genre | Pop |
| Length | 2:09 |
| Label | Signet |
| Songwriter(s) | Wayne Shanklin |
| Producer(s) | Wayne Shanklin |
"The Big Hurt" is a pop song that was a hit for Toni Fisher (billed as "Miss Toni Fisher") in 1959. The song was written by Wayne Shanklin. "The Big Hurt" is notable because it featured phasing effects which at that time were rare in popular music; DJ Dick Biondi on WKBW would introduce the record as "Toni Fisher's weird one."
Music
[edit]The 45 rpm single plays in C major, even though on the sheet music (copyright 1959 by Music Productions, Hollywood, CA), the song is in the key of F major. The time signature is 4/4, and the tempo is indicated as "Moderate Beguine Tempo." The melody begins with a triplet on beats three and four, a motif that appears throughout the song in every second measure. In the other measures, however, the duple meter is reinforced by using eighth notes in the same location, presumably to prevent the tune from becoming a waltz.[1] Although Toni Fisher does use the triplet in her performance on the record, she takes liberties with it and often uses some form of duple rhythm. She also deviates here and there from the notes as written, but well within the usual range employed by singers for expressive purposes.
The main harmonic idea uses the tonic chord alternating with the Neapolitan chord (the flattened supertonic major chord). (The sheet music has an error that occurs three times, but in the chord symbols only, not in actual piano notation: the A flat diminished chord should really be the E major chord with a G# bass note.) The release (contrasting middle section) is in the key of A flat.[1]
Effects
[edit]American music industry veterans David S. Gold and Stan Ross, founders of the renowned Gold Star Studios in Hollywood, claim that "The Big Hurt" was the first commercial recording to feature a technique (or effect) now known as flanging. This "jet plane-like" sound effect may also be familiar to those who have listened to long-distance shortwave radio music broadcasts. (In radio, this effect was the result of multipath interference and varying propagation times.) To some, the flanging effect made this record sound like a distant shortwave broadcast.
In a 1968 report on sound effects in pop for Beat Instrumental, Crotus Pike wrote that Fisher's hit "was almost phased from start to finish. The result was like listening to an erratic signal on short wave radio." He wrote that the effect "turned a fairly ordinary song into a million seller", and also noted the precedent it set for the Small Faces' "Itchycoo Park" and Cat Stevens' "A Bad Night" (both 1967).[2]
Chart performance
[edit]The song went to No. 3 on the Billboard Hot 100 music chart in the United States[3] as well as going to No.16 on the Hot R&B Sides chart.[4] Outside the US, "The Big Hurt" went to No. 30 in the UK[5]
Covers
[edit]The song was covered numerous times in the mid-to-late-1960s, by artists as diverse as:
- Jazz musician Bobby Hutcherson
- Susan Rafey
- Scott Walker
- Del Shannon's 1966 version reached No. 94 on the Hot 100 (his only charted single on Liberty Records). Shannon's version, produced by Snuff Garrett, also included the phasing effects.
- Wes Montgomery recorded this with violins carrying the phase-effect part.
- In 1984, the San Francisco-based, dance group, Bearesssense had a minor club hit with their version.[6]
References
[edit]- ^ a b Piano-vocal score (Hollywood, CA: Music Productions, 1959).
- ^ Pike, Crotus (January 1968). "Sound Effects" (PDF). Beat Instrumental: 17. Retrieved August 16, 2023.
- ^ Whitburn, Joel (2004). The Billboard Book of Top 40 Hits, 8th Edition (Billboard Publications), page 226.
- ^ Whitburn, Joel (2004). Top R&B/Hip-Hop Singles: 1942-2004. Record Research. p. 204.
- ^ "TONI FISHER | full Official Chart History | Official Charts Company". Officialcharts.com. Retrieved 26 April 2021.
- ^ Whitburn, Joel (2004). Hot Dance/Disco: 1974-2003. Record Research. p. 31.
