"Basketball Jones featuring Tyrone Shoelaces" |
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Single by Cheech and Chong | ||||
from the album Los Cochinos | ||||
B-side | Don't Bug Me | |||
Released | August 1973 | |||
Format | 7" | |||
Recorded | 1973 | |||
Genre | Comedy rock | |||
Length | 4:04 | |||
Label | Ode Records | |||
Writer(s) | Cheech and Chong | |||
Producer(s) | Lou Adler | |||
Cheech and Chong singles chronology | ||||
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"Basketball Jones featuring Tyrone Shoelaces" is a song by Cheech and Chong that first appeared on the 1973 album Los Cochinos.
Sung in falsetto by Cheech Marin, playing the title character Tyrone (as in "tie-your-own") Shoelaces, it tells the story of Shoelaces' (insatiable desire) for basketball. It is a parody of the No. 16 Billboard Hot 100 song "Love Jones" by Brighter Side of Darkness. In the album version, the song is preceded by a mock interview with Jones' basketball coach named "Umgwana Kickbooti", in a parody of a Wide World of Sports interview conducted by a character named "Red Blazer".
Musicians who appeared on the record included George Harrison,Billy Preston, Tom Scott, and Carole King (so the record became the highest peaking single on which she appeared during 1973). The Blossoms and Michelle Phillips (from The Mamas & the Papas) performed vocals as cheerleaders on the track.
The song was released as a single in August 1973 and reached No. 15 on the Billboard Hot 100, becoming the only spoof to peak higher than the corresponding original. It was backed with "Don't Bug Me", also from Los Cochinos. To coincide with the graffiti artwork from the album's cover, both sides of the single feature the Ode label covered with graffiti.
Some notes on the recording of the track, taken from the booklet accompanying Where There's Smoke There's Cheech & Chong, read:
Cheech sings, and Tommy plays piano—that's all it was at first. In Cheech's words, "George Harrison and those guys were in the next studio recording, and so Lou [Adler] just ran over there and played [it for him]. They made up the track right on the spot." "That was a wild session," Lou Adler recalls. "I probably called Carole [King] and told her to come down, but with Harrison and [Klaus] Voorman—I didn't call and say come in and play. Everyone happened to be in the A&M studios at that particular time, doing different projects. It was spilling out of the studio into the corridors."