# Animal House

Page: https://stenobird.com/podcast/blind-skeleton-s-three-tune-tuesday-6777954/animal-house
Text version: https://stenobird.com/podcast/blind-skeleton-s-three-tune-tuesday-6777954/animal-house.md
Podcast: [Blind Skeleton's Three Tune Tuesday](https://stenobird.com/podcast/blind-skeleton-s-three-tune-tuesday-6777954)
Published: 2026-06-22T23:48:25+00:00
Episode link: https://castopod.blindskeleton.one/@threetunetuesday/episodes/animal-house
Audio file: https://op3.dev/e,pg=0c88012f-1bd8-11f1-84f8-66fdec9fd396/castopod.blindskeleton.one/audio/@threetunetuesday/animal-house.mp3
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JSON: https://stenobird.com/v1/public/podcasts/blind-skeleton-s-three-tune-tuesday-6777954/episodes/animal-house
Duration seconds: 3510

## Resource

This week on Three Tune Tuesday, we throw open the barn door for “Animal House” — three records with critters in the title and not a serious thought among them. No grand theme, no hidden agenda. Just a bird, some chickens, and a bee, scattered across two decades of shellac. We open with “On the Wing” (1904), a breakneck galop from Arthur Pryor’s Orchestra hiding behind the house name “Victor Dance Orchestra.” Pryor was Sousa’s star trombonist, and this one moves like something with feathers and a head start. Then the Six Brown Brothers turn their saxophones loose on “Chasing the Chickens” (1918), a fox-trot from vaudeville’s favorite reed-blowing clowns — back when the saxophone was still the funniest instrument in the room. We close with “Bee’s Knees” (1922), a Ted Lewis romp co-written by New Orleans cornetist Ray Lopez, the same man who’d helped copyright the first jazz record five years earlier. The title was brand-new slang that year: the very best of the very best.

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## Transcript

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