The Mills Brothers vocal group originally started in vaudeville as a kazoo quartet, playing four-part harmony on kazoo with one brother accompanying them on guitar. The kazoo is rare in European classical music. It does appear in David Bedford's "With 100 Kazoos", where, rather than having professionals play the instrument, kazoos are handed out to the audience, who accompany a professional instrumental ensemble. Leonard Bernstein included a segment for kazoo ensemble in the First Introit (Rondo) of his "Mass." The kazoo was used in the 1990 Koch International and 2007 Naxos Records recordings of American classical composer Charles Ives' "Yale-Princeton Football Game", where the kazoo chorus represents the football crowd's cheering. The brief passages have the kazoo chorus sliding up and down the scale as the "cheering" rises and falls. In Frank Loesser's score for the 1961 Broadway musical comedy "How to Succeed in Business Without Really Trying", several kazoos produce the effect of electric razors used in the executive washroom during a dance reprise of the ballad "I Believe in You". In 1961 Del Shannon's "So Long Baby" issued on Big Top Records featured a kazoo on the instrumental break. In addition to the single release it featured on the UK London American release of his album Hats Off To Del Shannon. Joanie Sommers' 1962 hit single "Johnny Get Angry" featured a kazoo ensemble in its instrumental bridge, as did Ringo Starr's 1973 cover of "You're Sixteen". Jesse Fuller's 1962 recording of his song "San Francisco Bay Blues" features a kazoo solo, as does Eric Clapton's 1992 recording of the song on MTV's Unplugged television show and album. On the song "Alligator" on the Grateful Dead album "Anthem of the Sun" three members of the band play kazoo together. Many Paolo Conte performances include kazoo passages. Short kazoo performances appear on many modern recordings, usually for comic effect. For example, in his first album, "Freak Out!", Frank Zappa used the kazoo to add comic feel to some songs — including one of his best known, "Hungry Freaks, Daddy". In the song "Crosstown Traffic" from the album "Electric Ladyland", Jimi Hendrix used a comb-and-paper instrument to accompany the guitar and accentuate a blown-out speaker sound.