• In music, an anacrusis (also known as a pickup, or fractional pick-up) is a note or sequence of notes, a motif, which precedes the first downbeat in a bar in a musical phrase. 'The span from the beginning of a group to the strongest beat in the group.' Anacrusis, especially reoccurring anacrusis (anacrusis motif played before every measure.
• BILLY BOB'S TEXAS. (817) 624-7117. THE WORLD'S LARGEST HONKY TONK. 2520 Rodeo Plaza Fort Worth, Texas 76164 / DIRECTIONS.
• Song structure is the arrangement of a song, and is a part of the songwriting process. It is typically sectional, which uses repeating forms in songs.Common forms include bar form, 32-bar form, verse–chorus form, ternary form, strophic form, and the 12-bar blues.
• A bar or measure is used in writing music. It is a way of organizing the written music in small sections. Each bar is a small amount of time. Most music has a regular beat (or pulse) which can be felt.

Each bar is a small amount of time. Most music has a regular beat (or pulse) which can be felt. Each bar usually has the same number of beats in it. Music that feels like 1-2-3-4-1-2-3-4 will be divided into bars with four beats worth of music in each bar. The bar line (or barline) is a vertical line written in the music which separates the bars.

'Beat Me Daddy, Eight to the Bar' is a song written in 1940 by Don Raye, Hughie Prince, and Ray McKinley. It follows the American boogie-woogie tradition of syncopated piano music.

Background[edit]

The title adopts 1940s' hipster slang coined by Raye's friend, Ray McKinley, a drummer and lead singer in the Jimmy Dorsey band in the 1930s. McKinley kicked off certain uptempo songs by asking pianist Freddie Slack (nicknamed 'Daddy') to give him a boogie beat, or 'eight to the bar'. McKinley, in a discussion with the jazz writer George Simon relates, “We were playing one of them (a boogie, blues) one night at the Famous Door and two songwriters, Don Raye and Hughie Prince, were there. There was one part where I had a drum break , and for some reason or other that night, instead of playing the break, I sang out, 'Oh, Beat Me, Daddy, Eight to the Bar.” After the set, Hughie called me over to the table and asked if they could write a song using that break. I told him to go ahead and they offered to cut me in on the tune. That was fine with me.”^[1] For that reason Raye gave a partial songwriting credit to McKinley. The song was formally published under McKinley's wife's name, Eleanore Sheehy, because McKinley was under a songwriting contract with another publisher. The nickname 'Daddy Slack' was also used in the 1941 recording by 'Pig Foot Pete' with Don Raye singing in Slack's band. It is commonly accepted by jazz historians that this song is in reference and tribute to Peck Kelley, a 1920s jazz pianist.^[2] However McKinley, talking to George Simon says, “A lot of people seem to think I was referring to Peck Kelly, and some years later Peck even thanked me for it. But, you know, I didn’t have anybody - Peck or anybody else - in mind, just an imaginary piano player in an imaginary town.” ^[3]

The song was first recorded in 1940 by the Will Bradley orchestra, featuring drummer McKinley on vocals and Freddie Slack on piano.^[4]

Charts[edit]

The single placed in Billboard's 'Leading Music Box Records of 1941' at number ten.^[5]

Recordings[edit]

• Will Bradley and His Orchestra in 1940 on Columbia Records, set C-123.^[6]
• Andrews Sisters, first in 1940;^[7] their 1941 hit, 'Boogie Woogie Bugle Boy', which praises a fictional trumpet player, resembles this hit.^[4] Both songs were written by Don Raye and Hughie Prince.
• Glenn Miller and His Orchestra in 1940 on RCA Victor Bluebird.^[8]
• Woody Herman in 1940 on Decca.^[9]
• Ella Fitzgerald recorded this song with arrangements by Russell Garcia on her Verve release Get Happy! (1959).^[10]
• Commander Cody and his Lost Planet Airmen on their album Lost in the Ozone (1971).^[11]
• Big Joe Duskin on the 1979 album Cincinnati Stomp.^[12]
• Asleep at the Wheel released it on their 1990 album Keepin' Me Up Nights.^[13]
• Deanna Bogart on her debut 1991 album Out to Get You.^[14]

References[edit]

1. ^ Simon, George T., The Big Bands, 4th Edition, Introduction by Frank Sinatra,Schirmer Books, New York, 1981 p. 95
2. ^Yanow, Scott (2001). Classic Jazz. Backbeat Books. p. 127. ISBN0-87930-659-9.
3. ^Simon, 1981 & p95. sfn error: no target: CITEREFSimon1981p95 (help)
4. ^ ^abGilliland, John (1994). Pop Chronicles the 40s: The Lively Story of Pop Music in the 40s (audiobook). ISBN978-1-55935-147-8. OCLC31611854. Tape 2, side B.
5. ^'Leading Music Box Records of 1941'. Billboard. 54 (5): 66. January 31, 1941. ISSN0006-2510.
6. ^'Beat Me Daddy (Eight to the Bar)'. National Museum of American History. Retrieved February 18, 2020.
7. ^'Beat Me Daddy, Eight to the Bar - The Andrews Sisters | Songs, Reviews, Credits'. AllMusic. Retrieved February 18, 2020.
8. ^'Millenium Anthology - Glenn Miller | Songs, Reviews, Credits'. AllMusic. Retrieved February 18, 2020.
9. ^'1940-1941 - Woody Herman & His Orchestra | Songs, Reviews, Credits'. AllMusic. Retrieved February 18, 2020.
10. ^'Get Happy! - Ella Fitzgerald | Songs, Reviews, Credits'. AllMusic. Retrieved February 18, 2020.
11. ^'Lost in the Ozone - Commander Cody and His Lost Planet Airmen | Songs, Reviews, Credits'. AllMusic. Retrieved February 18, 2020.
12. ^'Cincinnati Stomp - Big Joe Duskin | Songs, Reviews, Credits'. AllMusic. Retrieved February 18, 2020.
13. ^'Keepin' Me Up Nights - Asleep at the Wheel | Songs, Reviews, Credits'. AllMusic. Retrieved February 18, 2020.
14. ^'Out to Get You - Deanna Bogart | Songs, Reviews, Credits'. AllMusic. Retrieved February 18, 2020.

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