Blue Star Newsletter

Hi Hat Records, one of the "big names" in Square Dance music, has a reputation of fine musicians playing excellent music. Over the past four decades, Jimmy Bryant, who was billed as "the fastest guitar in the country", Dick Cary, the famous Jazz arranger, Del Katcher, a Les Paul protégé', and Ken Carlton, music man to the L.A. studios, have made musical magic and history on Hi Hat Records. The legacy continues with Mr. Hiroshi Yaoko.

Mr. Hiroshi Yaoko, is a dedicated Square Dancer; he along with his wife, Keiko, are also talented callers and staff members of
New Hi Hat Records. The Yaoko family lives in Tokyo, Japan and are members of the Tokyo Square Dance Club. Mr. Yaoko has the unique ability to take classic songs and blend them into a smooth Square Dance rhythm with a contemporary sound. Someone described his arrangement of "Can't Help Falling In Love", HH 5269 as Elvis meets Prince; a great release as evidenced by it's position on Hi Hat's best sellers list. Mr. Yaoko is also responsible for the first ever, animation of square dance calls, offered free of charge on the internet - click here to view

Since August 2004, Mr. Yaoko is credited with thirty-seven hoedowns on the Blue Star, Hi Hat, and Dance Ranch labels; thirty-one singing calls on the Hi Hat and Dance Ranch labels. A complete discography can be viewed at: www.buddyweaver.com/yaoko.htm.

He can further be credited with Hi Hat Records coming out of hibernation in October 2004 and a renewed, excited interest in this established record label. Because of his modern Square Dance sound, the label was re-christened as New Hi Hat Records. All of the callers here at Blue Star, New Hi Hat, and Dance Ranch think Mr. Yaoko is "ichi-ban" ("number one") and we join with the entire Square Dance community in saying a great "thank you, Mr. Hiroshi Yaoko".

We're talking showmanship, an important part of square dance calling, but difficult for many callers who may not understand how to sell their music as a showmanship tool. The observations are simple and techniques offered can be used by anyone with a desire to improve their dances, almost overnight.

Many callers use music as simple accompaniment for beat or to lead them through a song; the music "just lays there", which is fine for tips where the emphasis in on learning or difficult choreography. Sometimes you want the music to be out of your way. Most of our program, however, we want music that seems to "jump" or "pop", an example that I often use is "I FOUND A NEW BABY", BS 2458. It has a driving beat with a Dixieland arrangement that drips excitement. Many callers have told me they use it for both patter and singing call, I personally use it to open most all my dances as this record sells itself.

When music is used as a showmanship tool, it opens up a new direction that doesn't need fancy choreography, vocalizations, antics or props. To move the music to center stage, here is technique #1, rhythm and programming. Most callers recognize the "boom chuck" rhythm that is unique to square dancing, what you may not recognize is dancers love this rhythm for smooth dancing; almost every driving singing call has a solid "boom chuck" rhythm at the bottom - "I FOUND A NEW BABY", "READY FOR TIMES TO GET BETTER", "MOUNTAIN MUSIC". While the rhythm is "boom chuck", the orchestration could make the music sound traditional or contemporary; program your music so you will "ping pong" between traditional and contemporary, especially when using the same rhythm for both patter and singing call. Below are a few examples:

"CRACKERJACK" (hoedown), BS 2472
"SADDLE UP" (hoedown) BS 2512
"ROOTIN TOOTIN" (hoedown) BS 2536
"BACK IN YOUR OWN BACKYARD" (singing call) BS 2533
"STREET FAIR" (singing call or hoedown) BS 2515
"READY FOR TIMES TO GET BETTER" (singing call) BS 2481
click here for audio sample #1

"ORANGE BLOSSOM SPECIAL" (hoedown) BS 2526
"HOTEL PACIFIC" (hoedown) BS 2514
"EXPRESS" (hoedown) BS 2472
"WHEN MEMPHIS GAVE BIRTH TO ROCK & ROLL" (singing call) BS 2527
"MOUNTAIN MUSIC" (singing call) DR 1106
click here for audio sample #2

Many callers also recognize "shuffle" beats where the emphasis is placed on the first beat while the second is diminished. Dancers enjoy this for the feel of "two-stepping" or "swing dancing", and shuffle beats by their orchestration can accomplish either the feeling of a "relaxer" or "boogie woogie" type lift; use shuffle rhythms in hoedowns and singing calls both, but never close together in a program as it's too much. I never start a dance with a shuffle rhythm as it doesn't give the dancers the lift nor the solid dance beat that I feel is necessary. While examples are provided here, bear in mind that two or three shuffle rhythms per night is about the maximum, but not three shuffle rhythm singing calls in a dance.

"LADIES NIGHT" (hoedown), HH 5270
"ACCENTUATION", (hoedown) BS 2518
"YOUNG AT HEART" (singing call) BS 2475
"ICE CREAM SODAS" (singing call) BS 2525
"WORKING ON MY NEXT BROKEN HEART" (singing call) DR 1108
click here for audio sample #3

"AMPLITUDE" (hoedown), BS 2476
"BE BOP A LULA" (singing call), BS 2485
"PLASTIC SADDLE" (singing call) BS 2487
click here for audio sample #4

Another rhythm that subtly drives dancers crazy is 6/8; placing one of these per dance following a more laid back "boom chuck" rhythm will raise the energy of your dance. Examples are:

"TURKEY IN THE STRAW" (hoedown), BS 2462
"I'VE GOT A LOVELY BUNCH OF COCONUTS" (singing call), BS 2499
"WHO'S YOUR LADY FRIEND" (singing call), DR 1115
click here for audio sample #5

I like to map out my dances, planning, in advance, where to place a certain rhythm to obtain lifts, relaxing breathers, or just basic accompaniment for a workshop tip; variety in rhythm and orchestration is first step towards success.

While listening to the orchestration of your records, determine what makes one different from another, in some cases it might be something subtle. Technique #2 is listen to the what the players are playing and bring it to the dancers, so they can tune in to that "something special", in other words a quick teach on music appreciation. Examples below include what I clue the dancers in:

"SASSY AND BRASSY", BS 2524 is the very rare hoedown that has a horn section playing - wow!
"PIANO IN A", BS 2534 is the hoedown for piano lovers
"TIGER RAG", HH 5280 is the hoedown where the musicians really jam in the middle to end - watch out it might get wild!
"CRAZY ARMS", BS 2537 is the two-stepping singing call, listen to great leads at the start of every figure (try to prompt ahead with your calls then let the dancers listen to the musicians)
"READY FOR TIMES TO GET BETTER", BS 2481 has a "crying steel" and fiddle that folks have described as haunting (bring your treble levels up a little)
"SUGAR BLUES", DR 1109 features horns and piano playing great ragtime (again prompt the calls to let dancers hear the music)

In some orchestrations, there are hidden "treats", sometimes chases, licks, or dramatic changes in the music presentation, so technique #3 is find this little extra, bring it out or bring attention to it, and let your music do the work for you. Again, examples below include what my clues to the dancers.

"WORKING FOR THE MONEY", a hoedown on BS 2506 has some mean saxophone licks mixed in from middle to the end.
"I FOUND A NEW BABY", BS 2458 has outstanding piano and banjo parts on figures 3 and 4, respectively. Prompt your calls and increase the treble to let the dancers enjoy the music.
"HELLO MY BABY", BS 2507 has a telephone ringing in the background chasing the lyric line, "oh, baby, telephone..."; just make sure you don't call over this little extra.
"EARLY MORNING RAIN", DR 1092 has a sensational banjo lead in the third figure
The following have the fourth figure played in pizzicato style, which is the plucking of a bowed instrument, followed by a key change. This dramatic effect is enhanced when you, the caller, change your calling style to staccato - few words, just commands delivered with over-emphasized punctuation; watch the dancer response.
"WHEN THE RED RED ROBIN" - BS 2503
"I LEFT MY HEART IN SAN FRANCISCO" - BS 2473
"HELLO MY BABY" - BS 2507
"SITTING ON TOP OF THE WORLD" - BS 2523 (don't miss the whistling in the background)

As you can see, we're talking a lot about music and nothing on choreography; in my opinion the more you sell your music, then the less you want to sell your clever choreography. Use the singing call figure provided or find one that lets the dancers relax their brain enough to focus on your music selection - in other words - no puzzle solving choreography.

Technique #4 is know more about your song than it's name and lyrics then share it, find out who sang it or who wrote it or who made it popular. You may be surprised how dancer's appreciation for your songs increase by adding this simple little introduction. The internet is a good source for information seekers; when researching a song be sure to find the year it was made popular which I will tie into the next technique. For now, here are examples with my comments:

HH 5269, "I CAN'T HELP FALLING IN LOVE" is great modern take on a classic Elvis song.
"Here's a song for all you Tracy Bird fans" - "I'M FROM THE COUNTRY", BS 2531 or
George Strait fans - "I JUST WANT TO DANCE WITH YOU", DR 1099 or
Roger Whittaker fans - "LAST FAREWELL", DR 1110.
How many remember Eydie Gorme? Here is her biggest "pop" hit, "BLAME IT ON THE BOSSA NOVA", HH 5281
Start out by saying "hello, I'm Johnny Cash", then launch right into "RING OF FIRE", BS 2509
The song, "SHEIK OF ARABY", DR 1103 was written about a movie character, who was the star that played our hero?

When it comes to showmanship through music, this is just a small part, but one which everyone of you can do - honest. So to end this presentation, here is technique #5, by using previously mentioned research and a simply worded introduction you can let your music take the dancers to a different time, to different state of mind. Here are my final examples and how I help dancers visualize the song.

"Lets go back to the fifties and a song by Gene Vincent" - "BE BOP A LULA", BS 2485.
"Lets do a song from the seventies, a square dance version of Santana" - "YOU'VE GOT TO CHANGE YOUR WAYS", HH 5262 (don't miss the licks in the middle break and closer)
"In the 1960's, the Mamas and Papas had a big hit with this song" - "CALIFORNIA DREAMING", DR 1058
"Remember when the Lawrence Welk Show came on every Sunday? The round dance folks used this song from that show - this will take you back" - "STREET FAIR", BS 2515

HH 5283, "CHRISTMAS POP" (and) "WINTER HOEDOWN MEDLEY" (already a best seller)

BS 2535, "I LOVE THE WORLD - HOLIDAY VERSION" by Buddy Weaver (new lyrics, super music)

DR 1107, "COLORS OF THE WIND" with Southern Face Hoedown by Buddy Weaver (hugely popular Disney song)

DR 1108, "I'M WORKING ON MY NEXT BROKEN HEART" with Tuffy Hoedown by Mike Driscoll (brand new music in two step rhythm)

DR 1110, "LAST FAREWELL" with Candace Hoedown by Dick Reuter (Dick premiers on Dance Ranch with a great performance)

DR 1111, "SELFISH" with Fireball Hoedown by Buddy Weaver (smooth singing call and driving hoedown)

DR 1112, "TEARS IN HEAVEN" with Sugar Hoedown by Lottie Ainsworth (this is a singer's song!)

DR 1113, "WASHINGTON & LEE SWING" with Weaver's Hornpipe by Buddy Weaver (a fun song with music that lifts)

	Mr. Hiroshi Yaoko - The Music of New Hi Hat Records
	Selling Your Music
	Best Selling Records & CDs
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	Up-coming events

Feb. 29 - Mar. 2, 2008	Solvang Spring Fling featuring Plus with A-1 tips in wonderful Solvang, CA Callers: Ken Bower and Buddy Weaver
Sept. 6-7, 2008	Japan Campus Swinger/Squares Anniversary in Tokyo, Japan Callers: Shozo Nishimura and Buddy Weaver
Oct. 24-26, 2008	Windmill Spin featuring A-2 dancing in Solvang, CA Callers: Mike Sikorsky and Buddy Weaver
Nov. 17-20, 2008 (Mon-Thurs)	Rosarito Romp 2008 featuring Plus, Advanced and Round Dancing at the magical Rosarito Beach Hotel, Baja, MX Callers: Tony Oxendine and Buddy Weaver