Chords for Jeffrey Daniel Still got the moves!
Tempo:
107.05 bpm
Chords used:
F#
G
G#
F
B
Tuning:Standard Tuning (EADGBE)Capo:+0fret
Start Jamming...
in their football boots.
Yeah.
Ricky Shakes here.
Hope Geoffrey can see this.
Baz Savage here.
I like the arm off the end, that's good, that's where
So [E] on last week's show we asked the question,
who invented the [G#] moonwalk?
We had loads of emails and one name that kept cropping up
was Shalimar's Geoffrey Daniel.
We thought we'd try and track him down and ask him if he did in fact invent the moonwalk.
He now lives in Japan, but we found out he was in the UK touring.
How cool is that?
So we invited him down to the show.
Ladies and gentlemen, please welcome Geoffrey [F#] Daniel!
Hey!
[D] [Bm]
[F#] [D] [B]
Hello!
[F#m] I'm not waving!
[B] So nice to meet you, Geoffrey!
[F#] Cheers.
Now, welcome to the show.
Now, before we speak to you, what we've tried [G] to do is,
because we looked into the history of the moonwalk,
we've made a little film about it,
so if you could watch us and then correct it if there's anything wrong.
Here you go, [F] this is our film.
You mentioned the term [D#] moonwalking,
and most people [N] instantly think of Michael Jackson.
But did you know that the move has [B] been around for over [Fm] 70 years?
The origins of [F#] the moonwalk, or backsliding as it was first known,
[A] actually date back [N] to the 1930s,
when jazz musician Cab Calloway began to use a style of backwards walking
during his live [F#m] performances.
[C#] But around the same time, French actor Jean-Louis Barrault
was teaching people how to mime [A] walking against a strong [G#] wind,
where they would be [D] moving backwards, whilst [D#] appearing to be walking forwards.
But the move [A] we now know as moonwalking was first seen in 1955,
[F#] when tap dancer Bill Bailey incorporated it into his [A#m] routine.
For this reason, he is [F#] known by most experts as the man who invented [A#m] it.
In 1979, US [D#] dancer and singer Jeffrey Daniel brought the move to the public eye once more,
[E] when he moonwalked during his performances on hit American TV [A#] shows
Soul Train and American Bandstand.
He became so good at it that a young Michael [A] Jackson
actually asked him and co-dancer Derek Cooley Jackson to [G] teach him the move.
And on May [F#] 16th, 1983, [C#m] on an American show called Motown 25,
Michael Jackson [F#] used the moonwalk for the first time during his performance of Billie Jean.
But a [D] British audience actually saw moonwalking on television a year earlier,
during Jeffrey Daniel's [F] performance of Shalimar's song A Night [D#] To Remember [B] on Top Of The Pops.
[C#] [C#m]
[F#] [B] [D#m]
[A#m] [C#m]
[F#] A Night To [B] Remember.
[D#]
[C#]
[F#] [B] [N]
How accurate do you think that film was?
Pretty accurate?
I would love to see more of that clip without Bill [F] Bailey.
That was amazing.
I had no idea that that was going [A] on back then.
Really?
Yeah, I'd never seen that before.
I was like, wow, I would love it.
Who taught you how to moonwalk?
Well, we were street dancing, the Electric Boogaloos, who [F#] invented the whole popping thing.
One of the members, they did the backslide, and it was more of a scoop thing.
So I didn't invent the actual step, but when I saw it,
because I was doing it on stage with Shalimar, I put the longer [G] strides into it
because I had to cover the entire stage.
And so [N] I smoothened it out a bit.
What's the difference between body popping and breakdancing?
Breakdancing is spinning on the floor, [A] spinning on your head, and [N] it's more of an acrobat.
Body [F#] popping is a dance, and you can do it [E] consistently [F] for six records straight or whatever.
And [F#] it has to do with the locking of the joints.
That's why it's called popping.
It's the popping [G] of the joints, and that's where popping comes from.
Brilliant.
Alright, so you started dancing [B] in an American TV show, Soul Train.
You [G#] ended up presenting Soul Train in England as [G] well, didn't you?
Right.
Many moons [F] ago.
How did Shalimar come about?
[G] Shalimar [F] came about because the producer of Soul Train, Don [E] Cornelia, started a record company,
[F#]
and then [E] they put a song [Dm] together, and they wanted a group [D#] to go behind the song.
[F#] So they selected me first, and they [C#] asked me,
did I know a girl who could sing?
Jodie Watley hadn't sang [D] yet.
I had to teach her how to sing.
And then [G#] we [G] incorporated.
There were two other singers before Howard Hewitt actually came [D] into the lineup.
And then once it was myself, Jodie Watley and Howard Hewitt, [D#] that became the Shalimar with the hits.
And were you singing as well as dancing before, or do you think you were [E] selected because of your dancing first?
Because of my showmanship, that had a lot [A] to do with it.
But I was always singing.
[F] My mother was a pianist in church,
[G] so I was always singing in [E] church's choirs and things like that, in high school bands and the sort.
[Bm] OK, got to get back to [G#] 1982.
First time on Top of the Pops was the first time anyone [N] in this country had ever seen [G] Moonwalking on our [Am] TV.
Why [F] weren't the other members of the band there?
Why was it just you?
What had happened?
[F#] Well, at the particular time, Jodie was pregnant, [B] so Jodie couldn't come over.
[F#] Well, Shalimar couldn't come over as a whole.
So I just came over by myself to represent our song, because [E] our song was in the charts.
[G#m] And it worked out great because I had a [D#m] chance to show the UK a dance that no one had ever seen [F] before.
What was the reaction after you'd done that?
[G] I mean, I sort of [G#] remember that.
Yeah, I remember everyone going, my God, have you seen that guy on [D#] the stage?
Right after I did that, we flew to Amsterdam, Holland to continue to promote [A] the record.
The record company [E] staff came banging on my door, Simon Fradsham.
[G#] Geoffrey, Geoffrey, everyone's looking for you.
We've got to go back to the UK.
Oh, what's happened?
That performance you did on Top of the Pops, man, everybody's looking for you.
The only [G] other thing which had [A] that reaction was Boy George, wasn't it, on Top of the Pops?
[F#] Oh, yeah, he was a man, I assume.
But we didn't know whether he was a man [N] or a woman.
Didn't they think that you'd done something to [G#] your shoes, that it wasn't real?
Everybody was so freaked [G#m] out about it, they thought you'd done something.
When I was first doing it on stage in America with [G] Shalamar, people couldn't work out what [E] was happening.
[G#] They thought there was oil on the floor or [Am] maybe a string was pulling me [G] or I had wheels on my [F#] shoes.
Because it's just something that people hadn't seen in that generation.
Now that I know that, Bill Benny was doing it back [G] then.
Yeah, OK.
You used to like [F#] hanging out in England, though, is that true?
You spent a lot of [G#m] time over here?
I used to love coming here.
The moment I got [F] back to LA, I was just waiting for my next chance to fly back over.
[F#] Because it was so exciting what was happening [D] in the music scene in the 80s with the different groups.
ABC and [F#] Musical Youth and Culture Club, Duran [F] Duran, Wham!
and [G] Dexys Midnight Runners.
You could just go on, Bow Wow [F#] Wow.
You used to hang out with them all, did you?
Oh, yeah, at the Camden [G#] Palace every [F] Thursday night.
Steve Strange used to host it [G] and we'd [F#] all be at the Camden Palace.
If you went to Camden Palace, that was Top of the Pops.
[A]
Is it true that when you were presenting Soul Train, Jonathan [G#] Ross was your [Gm] PA?
That's right.
Jonathan Ross was [D#] working with us on the 620 Soul Train in 1985.
I hadn't been in the UK in a long time.
I come back and he's Mr.
TV.
[G#]
That's [A] the guy who used to get me pizza.
[B] Is that right?
Yeah.
OK, [G#] now we're going to talk to you about Michael Jackson in a minute.
You're hopefully going to give us a [F#] demonstration of your dancing.
That's straight after the [B] break.
Jeffrey Daniel, everybody.
[G]
Yeah.
Ricky Shakes here.
Hope Geoffrey can see this.
Baz Savage here.
I like the arm off the end, that's good, that's where
So [E] on last week's show we asked the question,
who invented the [G#] moonwalk?
We had loads of emails and one name that kept cropping up
was Shalimar's Geoffrey Daniel.
We thought we'd try and track him down and ask him if he did in fact invent the moonwalk.
He now lives in Japan, but we found out he was in the UK touring.
How cool is that?
So we invited him down to the show.
Ladies and gentlemen, please welcome Geoffrey [F#] Daniel!
Hey!
[D] [Bm]
[F#] [D] [B]
Hello!
[F#m] I'm not waving!
[B] So nice to meet you, Geoffrey!
[F#] Cheers.
Now, welcome to the show.
Now, before we speak to you, what we've tried [G] to do is,
because we looked into the history of the moonwalk,
we've made a little film about it,
so if you could watch us and then correct it if there's anything wrong.
Here you go, [F] this is our film.
You mentioned the term [D#] moonwalking,
and most people [N] instantly think of Michael Jackson.
But did you know that the move has [B] been around for over [Fm] 70 years?
The origins of [F#] the moonwalk, or backsliding as it was first known,
[A] actually date back [N] to the 1930s,
when jazz musician Cab Calloway began to use a style of backwards walking
during his live [F#m] performances.
[C#] But around the same time, French actor Jean-Louis Barrault
was teaching people how to mime [A] walking against a strong [G#] wind,
where they would be [D] moving backwards, whilst [D#] appearing to be walking forwards.
But the move [A] we now know as moonwalking was first seen in 1955,
[F#] when tap dancer Bill Bailey incorporated it into his [A#m] routine.
For this reason, he is [F#] known by most experts as the man who invented [A#m] it.
In 1979, US [D#] dancer and singer Jeffrey Daniel brought the move to the public eye once more,
[E] when he moonwalked during his performances on hit American TV [A#] shows
Soul Train and American Bandstand.
He became so good at it that a young Michael [A] Jackson
actually asked him and co-dancer Derek Cooley Jackson to [G] teach him the move.
And on May [F#] 16th, 1983, [C#m] on an American show called Motown 25,
Michael Jackson [F#] used the moonwalk for the first time during his performance of Billie Jean.
But a [D] British audience actually saw moonwalking on television a year earlier,
during Jeffrey Daniel's [F] performance of Shalimar's song A Night [D#] To Remember [B] on Top Of The Pops.
[C#] [C#m]
[F#] [B] [D#m]
[A#m] [C#m]
[F#] A Night To [B] Remember.
[D#]
[C#]
[F#] [B] [N]
How accurate do you think that film was?
Pretty accurate?
I would love to see more of that clip without Bill [F] Bailey.
That was amazing.
I had no idea that that was going [A] on back then.
Really?
Yeah, I'd never seen that before.
I was like, wow, I would love it.
Who taught you how to moonwalk?
Well, we were street dancing, the Electric Boogaloos, who [F#] invented the whole popping thing.
One of the members, they did the backslide, and it was more of a scoop thing.
So I didn't invent the actual step, but when I saw it,
because I was doing it on stage with Shalimar, I put the longer [G] strides into it
because I had to cover the entire stage.
And so [N] I smoothened it out a bit.
What's the difference between body popping and breakdancing?
Breakdancing is spinning on the floor, [A] spinning on your head, and [N] it's more of an acrobat.
Body [F#] popping is a dance, and you can do it [E] consistently [F] for six records straight or whatever.
And [F#] it has to do with the locking of the joints.
That's why it's called popping.
It's the popping [G] of the joints, and that's where popping comes from.
Brilliant.
Alright, so you started dancing [B] in an American TV show, Soul Train.
You [G#] ended up presenting Soul Train in England as [G] well, didn't you?
Right.
Many moons [F] ago.
How did Shalimar come about?
[G] Shalimar [F] came about because the producer of Soul Train, Don [E] Cornelia, started a record company,
[F#]
and then [E] they put a song [Dm] together, and they wanted a group [D#] to go behind the song.
[F#] So they selected me first, and they [C#] asked me,
did I know a girl who could sing?
Jodie Watley hadn't sang [D] yet.
I had to teach her how to sing.
And then [G#] we [G] incorporated.
There were two other singers before Howard Hewitt actually came [D] into the lineup.
And then once it was myself, Jodie Watley and Howard Hewitt, [D#] that became the Shalimar with the hits.
And were you singing as well as dancing before, or do you think you were [E] selected because of your dancing first?
Because of my showmanship, that had a lot [A] to do with it.
But I was always singing.
[F] My mother was a pianist in church,
[G] so I was always singing in [E] church's choirs and things like that, in high school bands and the sort.
[Bm] OK, got to get back to [G#] 1982.
First time on Top of the Pops was the first time anyone [N] in this country had ever seen [G] Moonwalking on our [Am] TV.
Why [F] weren't the other members of the band there?
Why was it just you?
What had happened?
[F#] Well, at the particular time, Jodie was pregnant, [B] so Jodie couldn't come over.
[F#] Well, Shalimar couldn't come over as a whole.
So I just came over by myself to represent our song, because [E] our song was in the charts.
[G#m] And it worked out great because I had a [D#m] chance to show the UK a dance that no one had ever seen [F] before.
What was the reaction after you'd done that?
[G] I mean, I sort of [G#] remember that.
Yeah, I remember everyone going, my God, have you seen that guy on [D#] the stage?
Right after I did that, we flew to Amsterdam, Holland to continue to promote [A] the record.
The record company [E] staff came banging on my door, Simon Fradsham.
[G#] Geoffrey, Geoffrey, everyone's looking for you.
We've got to go back to the UK.
Oh, what's happened?
That performance you did on Top of the Pops, man, everybody's looking for you.
The only [G] other thing which had [A] that reaction was Boy George, wasn't it, on Top of the Pops?
[F#] Oh, yeah, he was a man, I assume.
But we didn't know whether he was a man [N] or a woman.
Didn't they think that you'd done something to [G#] your shoes, that it wasn't real?
Everybody was so freaked [G#m] out about it, they thought you'd done something.
When I was first doing it on stage in America with [G] Shalamar, people couldn't work out what [E] was happening.
[G#] They thought there was oil on the floor or [Am] maybe a string was pulling me [G] or I had wheels on my [F#] shoes.
Because it's just something that people hadn't seen in that generation.
Now that I know that, Bill Benny was doing it back [G] then.
Yeah, OK.
You used to like [F#] hanging out in England, though, is that true?
You spent a lot of [G#m] time over here?
I used to love coming here.
The moment I got [F] back to LA, I was just waiting for my next chance to fly back over.
[F#] Because it was so exciting what was happening [D] in the music scene in the 80s with the different groups.
ABC and [F#] Musical Youth and Culture Club, Duran [F] Duran, Wham!
and [G] Dexys Midnight Runners.
You could just go on, Bow Wow [F#] Wow.
You used to hang out with them all, did you?
Oh, yeah, at the Camden [G#] Palace every [F] Thursday night.
Steve Strange used to host it [G] and we'd [F#] all be at the Camden Palace.
If you went to Camden Palace, that was Top of the Pops.
[A]
Is it true that when you were presenting Soul Train, Jonathan [G#] Ross was your [Gm] PA?
That's right.
Jonathan Ross was [D#] working with us on the 620 Soul Train in 1985.
I hadn't been in the UK in a long time.
I come back and he's Mr.
TV.
[G#]
That's [A] the guy who used to get me pizza.
[B] Is that right?
Yeah.
OK, [G#] now we're going to talk to you about Michael Jackson in a minute.
You're hopefully going to give us a [F#] demonstration of your dancing.
That's straight after the [B] break.
Jeffrey Daniel, everybody.
[G]
Key:
F#
G
G#
F
B
F#
G
G#
in their football boots.
Yeah.
Ricky Shakes here.
Hope Geoffrey can see this. _ _ _
Baz Savage here.
I like the arm off the end, that's good, that's where_
_ So [E] on last week's show we asked the question,
who invented the [G#] moonwalk?
We had loads of emails and one name that kept cropping up
was Shalimar's Geoffrey Daniel.
We thought we'd try and track him down and ask him if he did in fact invent the moonwalk.
He now lives in Japan, but we found out he was in the UK touring.
How cool is that?
So we invited him down to the show.
Ladies and gentlemen, please welcome Geoffrey [F#] Daniel!
Hey!
_ [D] _ _ _ _ _ [Bm] _ _
[F#] _ _ _ [D] _ _ _ _ [B]
Hello!
[F#m] I'm not waving!
_ [B] So nice to meet you, Geoffrey!
[F#] Cheers.
Now, welcome to the show.
Now, before we speak to you, what we've tried [G] to do is,
because we looked into the history of the moonwalk,
we've made a little film about it,
so if you could watch us and then correct it if there's anything wrong.
Here you go, [F] this is our film.
You mentioned the term [D#] moonwalking,
and most people [N] instantly think of Michael Jackson.
But did you know that the move has [B] been around for over [Fm] 70 years?
The origins of [F#] the moonwalk, or backsliding as it was first known,
[A] actually date back [N] to the 1930s,
when jazz musician Cab Calloway began to use a style of backwards walking
during his live [F#m] performances.
[C#] But around the same time, French actor Jean-Louis Barrault
was teaching people how to mime [A] walking against a strong [G#] wind,
where they would be [D] moving backwards, whilst [D#] appearing to be walking forwards.
But the move [A] we now know as moonwalking was first seen in 1955,
[F#] when tap dancer Bill Bailey incorporated it into his [A#m] routine.
For this reason, he is [F#] known by most experts as the man who invented [A#m] it.
In 1979, US [D#] dancer and singer Jeffrey Daniel brought the move to the public eye once more,
[E] when he moonwalked during his performances on hit American TV [A#] shows
Soul Train and American Bandstand.
He became so good at it that a young Michael [A] Jackson
actually asked him and co-dancer Derek Cooley Jackson to [G] teach him the move.
And on May [F#] 16th, 1983, [C#m] on an American show called Motown 25,
Michael Jackson [F#] used the moonwalk for the first time during his performance of Billie Jean.
But a [D] British audience actually saw moonwalking on television a year earlier,
during Jeffrey Daniel's [F] performance of Shalimar's song A Night [D#] To Remember [B] on Top Of The Pops.
_ _ [C#] _ _ _ _ [C#m] _
_ [F#] _ _ [B] _ _ _ [D#m] _ _
_ _ _ [A#m] _ _ _ _ [C#m] _
_ [F#] A Night To [B] Remember.
_ _ [D#] _ _
_ _ _ _ _ _ _ [C#] _
_ [F#] _ _ [B] _ _ _ [N] _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _
How accurate do you think that film was?
Pretty accurate?
I would love to see more of that clip without Bill [F] Bailey.
That was amazing.
I had no idea that that was going [A] on back then.
Really?
Yeah, I'd never seen that before.
I was like, wow, I would love it. _ _
Who taught you how to moonwalk?
_ _ Well, we were street dancing, the Electric Boogaloos, who [F#] invented the whole popping thing.
One of the members, they did the backslide, and it was more of a scoop thing.
So I didn't invent the actual step, but when I saw it,
because I was doing it on stage with Shalimar, I put the longer [G] strides into it
because I had to cover the entire stage.
And so [N] I smoothened it out a bit.
_ What's the difference between body popping and breakdancing?
Breakdancing is spinning on the floor, [A] spinning on your head, and [N] it's more of an acrobat.
Body [F#] popping is a dance, and you can do it [E] consistently [F] for six records straight or whatever.
And [F#] it has to do with the locking of the joints.
That's why it's called popping.
It's the popping [G] of _ _ _ the joints, and that's where popping comes from.
Brilliant.
Alright, so you started dancing [B] in an American TV show, Soul Train.
You [G#] ended up presenting Soul Train in England as [G] well, didn't you?
Right.
Many moons [F] ago.
How did Shalimar come about?
[G] Shalimar [F] came about because the producer of Soul Train, Don [E] Cornelia, started a record company,
[F#]
and then [E] they put a song [Dm] together, and they wanted a group [D#] to go behind the song.
[F#] So they selected me first, and they [C#] asked me,
did I know a girl who could sing?
Jodie Watley hadn't sang [D] yet.
I had to teach her how to sing.
And then [G#] we [G] incorporated.
There were two other singers before Howard Hewitt actually came [D] into the lineup.
And then once it was myself, Jodie Watley and Howard Hewitt, [D#] that became the Shalimar with the hits.
And were you singing as well as dancing before, or do you think you were [E] selected because of your dancing first?
_ Because of my showmanship, that had a lot [A] to do with it.
But I was always singing.
[F] My mother was a pianist in church,
[G] so I was always singing in [E] church's choirs and things like that, in high school bands and the sort.
[Bm] OK, got to get back to [G#] 1982.
First time on Top of the Pops was the first time anyone [N] in this country had ever seen [G] Moonwalking on our [Am] TV.
Why [F] weren't the other members of the band there?
Why was it just you?
What had happened?
[F#] Well, at the particular time, Jodie was pregnant, [B] so Jodie couldn't come over.
[F#] Well, Shalimar couldn't come over as a whole.
So I just came over by myself to represent our song, because [E] our song was in the charts.
[G#m] And it worked out great because I had a [D#m] chance to show the UK a dance that no one had ever seen [F] before.
What was the reaction after you'd done that?
[G] I mean, I sort of [G#] remember that.
Yeah, I remember everyone going, my God, have you seen that guy on [D#] the stage?
Right after I did that, we flew to Amsterdam, Holland to continue to promote [A] the record.
The record company [E] staff came banging on my door, Simon Fradsham.
[G#] Geoffrey, Geoffrey, everyone's looking for you.
We've got to go back to the UK.
Oh, what's happened?
That performance you did on Top of the Pops, man, everybody's looking for you.
The only [G] other thing which had [A] that reaction was Boy George, wasn't it, on Top of the Pops?
[F#] Oh, yeah, he was a man, I assume.
But we didn't know whether he was a man [N] or a woman.
_ _ _ Didn't they think that you'd done something to [G#] your shoes, that it wasn't real?
Everybody was so freaked [G#m] out about it, they thought you'd done something.
When I was first doing it on stage in America with [G] Shalamar, people couldn't work out what [E] was happening.
[G#] They thought there was oil on the floor or [Am] maybe a string was pulling me [G] or I had wheels on my [F#] shoes.
Because it's just something that people hadn't seen in that generation.
Now that I know that, Bill Benny was doing it back [G] then.
Yeah, OK.
You used to like [F#] hanging out in England, though, is that true?
You spent a lot of [G#m] time over here?
I used to love coming here.
The moment I got [F] back to LA, I was just waiting for my next chance to fly back over.
[F#] Because it was so exciting what was happening [D] in the music scene in the 80s with the different groups.
ABC and [F#] Musical Youth and Culture Club, Duran [F] Duran, Wham!
and [G] Dexys Midnight Runners.
You could just go on, Bow Wow [F#] Wow.
You used to hang out with them all, did you?
Oh, yeah, at the Camden [G#] Palace every [F] Thursday night.
Steve Strange used to host it [G] and we'd [F#] all be at the Camden Palace.
If you went to Camden Palace, that was Top of the Pops.
_ [A] _
Is it true that when you were presenting Soul Train, Jonathan [G#] Ross was your [Gm] PA?
That's right.
Jonathan Ross was [D#] working with us on the 620 Soul Train in 1985.
I hadn't been in the UK in a long time.
I come back and he's Mr.
TV.
[G#] _
That's [A] the guy who used to get me pizza.
[B] _ Is that right?
Yeah.
OK, [G#] now we're going to talk to you about Michael Jackson in a minute.
You're hopefully going to give us a [F#] demonstration of your dancing.
That's straight after the [B] break.
Jeffrey Daniel, everybody.
_ [G] _ _ _ _ _ _ _
Yeah.
Ricky Shakes here.
Hope Geoffrey can see this. _ _ _
Baz Savage here.
I like the arm off the end, that's good, that's where_
_ So [E] on last week's show we asked the question,
who invented the [G#] moonwalk?
We had loads of emails and one name that kept cropping up
was Shalimar's Geoffrey Daniel.
We thought we'd try and track him down and ask him if he did in fact invent the moonwalk.
He now lives in Japan, but we found out he was in the UK touring.
How cool is that?
So we invited him down to the show.
Ladies and gentlemen, please welcome Geoffrey [F#] Daniel!
Hey!
_ [D] _ _ _ _ _ [Bm] _ _
[F#] _ _ _ [D] _ _ _ _ [B]
Hello!
[F#m] I'm not waving!
_ [B] So nice to meet you, Geoffrey!
[F#] Cheers.
Now, welcome to the show.
Now, before we speak to you, what we've tried [G] to do is,
because we looked into the history of the moonwalk,
we've made a little film about it,
so if you could watch us and then correct it if there's anything wrong.
Here you go, [F] this is our film.
You mentioned the term [D#] moonwalking,
and most people [N] instantly think of Michael Jackson.
But did you know that the move has [B] been around for over [Fm] 70 years?
The origins of [F#] the moonwalk, or backsliding as it was first known,
[A] actually date back [N] to the 1930s,
when jazz musician Cab Calloway began to use a style of backwards walking
during his live [F#m] performances.
[C#] But around the same time, French actor Jean-Louis Barrault
was teaching people how to mime [A] walking against a strong [G#] wind,
where they would be [D] moving backwards, whilst [D#] appearing to be walking forwards.
But the move [A] we now know as moonwalking was first seen in 1955,
[F#] when tap dancer Bill Bailey incorporated it into his [A#m] routine.
For this reason, he is [F#] known by most experts as the man who invented [A#m] it.
In 1979, US [D#] dancer and singer Jeffrey Daniel brought the move to the public eye once more,
[E] when he moonwalked during his performances on hit American TV [A#] shows
Soul Train and American Bandstand.
He became so good at it that a young Michael [A] Jackson
actually asked him and co-dancer Derek Cooley Jackson to [G] teach him the move.
And on May [F#] 16th, 1983, [C#m] on an American show called Motown 25,
Michael Jackson [F#] used the moonwalk for the first time during his performance of Billie Jean.
But a [D] British audience actually saw moonwalking on television a year earlier,
during Jeffrey Daniel's [F] performance of Shalimar's song A Night [D#] To Remember [B] on Top Of The Pops.
_ _ [C#] _ _ _ _ [C#m] _
_ [F#] _ _ [B] _ _ _ [D#m] _ _
_ _ _ [A#m] _ _ _ _ [C#m] _
_ [F#] A Night To [B] Remember.
_ _ [D#] _ _
_ _ _ _ _ _ _ [C#] _
_ [F#] _ _ [B] _ _ _ [N] _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _
How accurate do you think that film was?
Pretty accurate?
I would love to see more of that clip without Bill [F] Bailey.
That was amazing.
I had no idea that that was going [A] on back then.
Really?
Yeah, I'd never seen that before.
I was like, wow, I would love it. _ _
Who taught you how to moonwalk?
_ _ Well, we were street dancing, the Electric Boogaloos, who [F#] invented the whole popping thing.
One of the members, they did the backslide, and it was more of a scoop thing.
So I didn't invent the actual step, but when I saw it,
because I was doing it on stage with Shalimar, I put the longer [G] strides into it
because I had to cover the entire stage.
And so [N] I smoothened it out a bit.
_ What's the difference between body popping and breakdancing?
Breakdancing is spinning on the floor, [A] spinning on your head, and [N] it's more of an acrobat.
Body [F#] popping is a dance, and you can do it [E] consistently [F] for six records straight or whatever.
And [F#] it has to do with the locking of the joints.
That's why it's called popping.
It's the popping [G] of _ _ _ the joints, and that's where popping comes from.
Brilliant.
Alright, so you started dancing [B] in an American TV show, Soul Train.
You [G#] ended up presenting Soul Train in England as [G] well, didn't you?
Right.
Many moons [F] ago.
How did Shalimar come about?
[G] Shalimar [F] came about because the producer of Soul Train, Don [E] Cornelia, started a record company,
[F#]
and then [E] they put a song [Dm] together, and they wanted a group [D#] to go behind the song.
[F#] So they selected me first, and they [C#] asked me,
did I know a girl who could sing?
Jodie Watley hadn't sang [D] yet.
I had to teach her how to sing.
And then [G#] we [G] incorporated.
There were two other singers before Howard Hewitt actually came [D] into the lineup.
And then once it was myself, Jodie Watley and Howard Hewitt, [D#] that became the Shalimar with the hits.
And were you singing as well as dancing before, or do you think you were [E] selected because of your dancing first?
_ Because of my showmanship, that had a lot [A] to do with it.
But I was always singing.
[F] My mother was a pianist in church,
[G] so I was always singing in [E] church's choirs and things like that, in high school bands and the sort.
[Bm] OK, got to get back to [G#] 1982.
First time on Top of the Pops was the first time anyone [N] in this country had ever seen [G] Moonwalking on our [Am] TV.
Why [F] weren't the other members of the band there?
Why was it just you?
What had happened?
[F#] Well, at the particular time, Jodie was pregnant, [B] so Jodie couldn't come over.
[F#] Well, Shalimar couldn't come over as a whole.
So I just came over by myself to represent our song, because [E] our song was in the charts.
[G#m] And it worked out great because I had a [D#m] chance to show the UK a dance that no one had ever seen [F] before.
What was the reaction after you'd done that?
[G] I mean, I sort of [G#] remember that.
Yeah, I remember everyone going, my God, have you seen that guy on [D#] the stage?
Right after I did that, we flew to Amsterdam, Holland to continue to promote [A] the record.
The record company [E] staff came banging on my door, Simon Fradsham.
[G#] Geoffrey, Geoffrey, everyone's looking for you.
We've got to go back to the UK.
Oh, what's happened?
That performance you did on Top of the Pops, man, everybody's looking for you.
The only [G] other thing which had [A] that reaction was Boy George, wasn't it, on Top of the Pops?
[F#] Oh, yeah, he was a man, I assume.
But we didn't know whether he was a man [N] or a woman.
_ _ _ Didn't they think that you'd done something to [G#] your shoes, that it wasn't real?
Everybody was so freaked [G#m] out about it, they thought you'd done something.
When I was first doing it on stage in America with [G] Shalamar, people couldn't work out what [E] was happening.
[G#] They thought there was oil on the floor or [Am] maybe a string was pulling me [G] or I had wheels on my [F#] shoes.
Because it's just something that people hadn't seen in that generation.
Now that I know that, Bill Benny was doing it back [G] then.
Yeah, OK.
You used to like [F#] hanging out in England, though, is that true?
You spent a lot of [G#m] time over here?
I used to love coming here.
The moment I got [F] back to LA, I was just waiting for my next chance to fly back over.
[F#] Because it was so exciting what was happening [D] in the music scene in the 80s with the different groups.
ABC and [F#] Musical Youth and Culture Club, Duran [F] Duran, Wham!
and [G] Dexys Midnight Runners.
You could just go on, Bow Wow [F#] Wow.
You used to hang out with them all, did you?
Oh, yeah, at the Camden [G#] Palace every [F] Thursday night.
Steve Strange used to host it [G] and we'd [F#] all be at the Camden Palace.
If you went to Camden Palace, that was Top of the Pops.
_ [A] _
Is it true that when you were presenting Soul Train, Jonathan [G#] Ross was your [Gm] PA?
That's right.
Jonathan Ross was [D#] working with us on the 620 Soul Train in 1985.
I hadn't been in the UK in a long time.
I come back and he's Mr.
TV.
[G#] _
That's [A] the guy who used to get me pizza.
[B] _ Is that right?
Yeah.
OK, [G#] now we're going to talk to you about Michael Jackson in a minute.
You're hopefully going to give us a [F#] demonstration of your dancing.
That's straight after the [B] break.
Jeffrey Daniel, everybody.
_ [G] _ _ _ _ _ _ _