FReeper Canteen - Tunes For The Troops - 18 Oct 2014

Our Troops Rock!!!!!!!!!!! | The Canteen DJ's

[AZamericonnie]

 

 

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Tunes For Our Troops

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Support the artists you hear throughout the Canteen!
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Warning: Not all the music you hear below will be appropriate for children! Please click with caution. Thank you!

Tunes For The Troops
 

 

This music is provided for the entertainment of our Troops, Veterans, Allies & their families!

Enjoy the variety of musical selections that the Canteen Deejays provide throughout the thread. Please ping any DJ with your requests for the Troops!


All music is removed on Monday.
Thanks to all the DeeJay's for their time & effort providing entertainment for the Troops!

*Canteen Mission Statement*

Showing support and boosting the morale of
our military and our allies military
and the family members of the above.
Honoring those who have served before.

 

 

Benny Goodman - Sometimes I'm Happy	Big Kenny - Happy People
Blood Sweat And Tears - You've Made Me So Very Happy	Bobby Mcferrin - Don't Worry Be Happy
Buddy Guy - All that makes me happy is the Blues	Celtic Thunder - Happy Birthday Sweet Sixteen
Colt Ford - Happy In Hell (featuring Boyz II Men)	Edwin Hawkins Singers - Oh Happy Day
Edwin McCain - The Happy Song (Dum-Dum)	Emily West - That Kind Of Happy
Journey - Happy To Give	Lady Gaga - So Happy I Could Die
Lee Brice - Happy Endings	Leona Lewis - Happy
Lucinda Williams - Happy Woman Blues	Jennifer Nettles - Thank You
Mary J Blige - Be Happy	Mudvayne - Happy
Natasha Bedingfield - Happy	Norah Jones - Happy Pills
Pink - Long Way To Happy	Sarah Vaughn - Sometimes I´m Happy
Snow Patrol - You Could Be Happy	Steve Vai - So Happy
Sugarland - Happy Ending	The Edwin Hawkins Singers - Oh Happy Day
The Mahavishnu Project - Be Happy	The Turtles - Happy Together

[spel_grammer_an_punct_polise]

Connie: Alquimia - El Privilegiado, ( Privileged )

Welcome to the Salsa Addiction Emergency Room!

We are all in critical condition here!

The music page will open in a new window. There is the option of clicking on individual songs or clicking the Jukebox link. If you choose the Jukebox link then the page can be minimized while you continue surfing:

Saturday Afternoon Salsa for 10-18-2014 for the TROOPS and their supporters everywhere!

Here is a list of the songs in the Jukebox:

Artist/s - Song Names:

3 Son Salsa - Un Periodico De Ayer

Alberto Caicedo - Este Amor Me Mata

Alberto Caicedo - Un Parque Para Jugar

Alex Wilson - Havana Thoroughfare

Alquimia - El Privilegiado

Alquimia - Invitacion

Celine Dion - Because You Loved Me

Chicago - South California Purples

Chicago - Wishing You Were Here

Chicago Colour - My World

Cream - Sunshine Of Your Love

Dan Fogelberg - I'd Really Love To See You Tonight

Dan Fogelberg - Rhythm Of The Rain

Destinys Child - Cater To You

Dianna Ross - Good Morning Heartache

Donna Lewis - Falling

Dusty Springfield - You've Really Got A Hold On Me

Earth Wind And Fire - After The Love Is Gone

Eliades Ochoa And The Buena Vista Social Club - El Carretero

Emerson, Lake And Palmer - Still You Turn Me On

Fourplay - Dreams Come True

Greg Pena Salsa Band - Mi Rumba Te Llama

Jose 'El Canario' Alberto - Cada Uno Con Lo Suyo

Julio Escalona Y Rumbaleros - Mi Momento

Kabanayen Orquesta - Nina Y Senora

La Conmocion Orquesta - La Claridad Y La Sombra

La Mision Orquesta - Tengo Un Sueno

La Sucursal S A - Asi

Orquesta Changui - Chango

Orquesta Changui - Furor De Rumba

[Drumbo]

This is another controversial song written and first recorded in the summer of 1966, as songs were being cranked out for The Monkees TV series, set to debut in September. Don Kirshner was the musical supervisor of the show, and he needed two songs for every weekly episode. He particularly wanted songs with girls' names, so Tommy Boyce and Bobby Hart delivered "Valleri." Boyce had been working on a song for The Monkees when Kirshner called with his request for "a great girl-name song." Boyce took the call and said they had one, which was a lie. He and Hart quickly put pieces of the song together based on what Boyce had written, and they drove to Kirshner's house to play it. "Valleri" was the name of a girl Hart pined for in high school, and it became the title of the song when they were shouting girls' names back and forth on their drive. They sang their "song" to Kirshner (some accounts have this in his living room, while other lore has him standing in his bathrobe in the front door), and Kirshner felt that if the song were finished, it would be a huge hit, so he sent them back home to add verses and polish it up. They finished the first verse later in the day and booked studio time for the next afternoon, where the instrumental tracks were recorded by session players because The Monkees did not play on their own records at the time. The Monkees added their vocals the next day, by which time Boyce and Hart had finished the lyrics. Louie Shelton probably played the solo guitar parts on that first version, but it continues to be a bone of contention because the song was later completely redone.

"Valleri" was first heard in the "Captain Crocodile" episode of The Monkees, which aired February 20, 1967, and again on the "Monkees at the Movies" episode April 17, 1967. This first recording was considered a rough version (without the horns), as Kirshner planned to polish it up for inclusion on their second album, but Kirshner had a falling out with The Monkees (especially Mike Nesmith) and was fired in early 1967 after releasing "A Little Bit Me, a Little Bit You" without first informing the group, so the song never made it to that second album, which was released in April.

The rough version of the song had been taped off the TV by two enterprising disc jockeys, one in Chicago, one in Florida, and as demand for anything Monkees began to spread, they playing this taped TV version on their radio shows. Listeners to the stations airing the rough mix of "Valleri" started writing the Monkees' distributor Colgems Records, asking where they could buy a copy of the record that they had just heard. There was plenty of demand, but only the rough mix of the song available, and Boyce and Hart were no longer working with The Monkees. Not only that, but the group had by this time (late 1967) written into their contracts that they would perform on their records and be credited as producers. This meant that anything from the original sessions could not be used, so Colgems asked Boyce and Hart to come back and try to rerecord the song as faithfully to the original as they could. In late December, 1967, Boyce and Hart recorded the new version (according to Boyce) with The Monkees, which was released as a single in March, 1968, 13 months after it was first lip-synched on the TV show.

Famed session guitarist Louie Shelton is credited with playing the solos on this song, both the original TV version and the second version that was released as a single. Bobby Hart credits Shelton's contribution for much of the song's success, saying, "Louie Shelton's great Flamenco work added greatly to the song's appeal. Although he tried to duplicate his guitar work the second time we produced the song, I don't think he was ever quite able to match the magic of his first spontaneous solos."

Shelton, who is also credited for playing on "Last Train To Clarksville," released a few solo albums and in the '70s he also worked extensively with Seals & Crofts as producer and guitar player. Liner notes from The Monkees Box Set list Gerry McGee and Louie Shelton as the guitar players for Valleri, yet, Hal Blaine who is unmistakably the drummer is not credited.

Glen Campbell has stated in interviews that he wouldn't comment on who played the guitar parts on Valleri or Last Train to Clarksville, and then he winks at the camera. It's sure that there were at least two guitarists on each version and subtle differences in style indicate that the soloists were not the same musician. Hal Blaine has alluded that Louie Shelton wasn't on the remake, but was credited because he owed BMI some money at the time and the credits were fudged to clear up the debt. The second version sounds like Glen, so you can take it for what it is worth, it's a sure thing that Mike Nesmith didn't play either part and in fact hated the song as over-produced and refused to attempt it live. He is in fact, visibly displeased at his air guitar on the first version, but is at least more convincing than Davy on the tambourine or Mickey on the drums: https://www.youtube.com/watch?v=QWTa9CE51sA By the time the second version was released, Peter Tork had already quit the group and the TV show was history, finishing it's run with episodes already "in the can". Valleri hit #3 on Billboard shortly before the TV show was removed from prime time in 1968. It was the group's last Top 10 hit.

Valleri
~ The Monkees ~

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[Drumbo]

Paul Revere & The Raiders were another group that were exclusively dubbed by The Wrecking Crew for their studio recordings and Glen Campbell was often the session player in the guitar chair. Their output was even more frantic than The Monkees when Dick Clark recruited The Raiders for his daily variety show in 1965. Originally intended as a summer replacement and broadcast at 2 P.M., "Where The Action Is" was successful enough for it to continue throughout the 1965-66 TV season, with a change in time period to 4:30 P.M. following the coat-tails of horror soap opera "Dark Shadows". Both programs attracted a young audience who watched the shows faithfully after school (guilty as charged, I liked Barnabas before vampires were cool and my first rock bank covered no less than 4 PR&TR songs). The Raiders lip-synced at least one showcase every day, 5 days a week, so the gears of the music machine went into overdrive supplying them with fresh material and Glen was ringing the cash register again.

Him Or Me, What's It Gonna Be
~ Paul Revere & The Raiders ~

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[Titan Magroyne]

Pretty cool, and very nice song, thank you!

[Titan Magroyne]

>>> It is this weekend and today’s the day we blow stuff up for TexasCowboy! Wish you were here!

Someday... some fine day...

[Titan Magroyne]

Ah. Dementia-borne worries from out of the blue on top of everything else you’re dealing with?

If she refuses to drop the matter of the 2nd bathroom lock and other issues, it might be a worthy compromise to accomodate her.

It is not my purpose to intrude or interject myself, adding to your burdens, Kathy. I’ll not argue, only adding that her fears are not logical. Except to her they are. So if giving her a sliding bolt to twiddle with eases that issue (Discard the screws and simply nail in the receiver/catch so if you have to kick in the door it won’t tear up the door trim.) - Well, when you look back on your Mom’s last days, as we all will have to do, do you want memories of exasperation & anger on both sides from trying to make her understand your logic; or do you want to be able to smile & admit to the niggling, silly remedies to which you resorted to keep peace in the house? Things that, in the future, bring a smile to your face as you recount them?

I think I’m looking at this ahead with my father. It seems I’m repeatedly answering the same question on handyman issues in my home that a mere 5 years ago would never have fazed him. Or having to explain why I choose a certain bit of hardware over another (I insist on double cylinder locks because all my doors have glass, for the umpteenth time!) and of course for me to reveal frustration with what to him is an honest question hurts his feelings, wounds his pride because he definitely suspects subpar brainage* and leaves me feeling ashamed afterwards for bullying my own beloved father.

brainage* (Yes, I know that’s not a word. Yet oddly you know what I meant, so who’s wrong? P;-)

Love you kiddo. Hang in there!

[Publius]

Great stuff! There is a lot I didn’t know.

[Drumbo]

Check out the next two for some fun!

[Drumbo]

In 1964, vocalists Ernie Bringas and Phil Stewart of The Opposites were joined by Terry Melcher (legendary Beach Boy producer & son of actress/singer Doris Day) and future Beach Boy Bruce Johnston to form The Rip Chords, who at the time as the vocal duet 'Bruce & Terry' were the definitive West Coast "Surf" Sound (pre-Beach Boys and fledglings Jan and Artie had yet to hit their stride as Jan and Dean). Although Bringas and Stewart were billed as the primary vocalists, this song features Terry on lead and the Bruce & Terry influence is prominent.

The story behind the Rip Chords is one of the most complicated and entangled in surf lore because with the exception of Stewart, none of the vocalists were interested in touring (Bringas due to his attendance at theological seminary and Melcher and Johnston due to lucrative careers as record producers in LA), so the touring Rip Chords (besides Stewart) were a totally different group of singers and because the Wrecking Crew was their "band" they used pick-up musicians almost exclusively for roadwork. The exception was Glen Campbell who not only played on the studio recordings, but also toured with the Rip Chords giving at least the illusion of continuity. This song was the follow-up to their #3 "Hey Little Cobra". It reached #29 on the national charts in 1964. They disbanded in 1965 when Johnston and Campbell joined the Beach Boys and Melcher joined Brian Wilson at the mixing console.

Three Window Coupe
~ The Rip Chords ~

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[Drumbo]

"Little Honda" is a song written by Brian Wilson and Mike Love. It was released on The Beach Boys 1964 album "All Summer Long". Carl Wilson recalls:

'Brian does exactly what he wants to do. I remember [sits back and laughs] — this is so funny — when we did "Little Honda," Brian wanted me to get this real distorted guitar sound, real fuzzy. "This guitar sounds like **it," I said. "Brian, I hate this." And he goes, "Would you F***ing do it? Just do it." When I heard it, I felt like an ***hole. It sounded really hot. That was before fuzz became a big deal.'

At first look, Wikipedia seems to have this one settled, Carl plays the guitar, end of story. However, a lot was happening behind the scenes in Beach Boy world that maybe brother Carl didn't catch due to his drinking and substance abuse. Brian was negotiating with the Melcher, Johnston, Campbell contingent of The Rip Chords behind the curtain - his only real competition, or so he thought.

Rival producer Gary Usher somehow got a hold of the "All Summer Long" tapes prior to their release, how this happened is all very fuzzy. Subsequently, Usher gave former Castells vocalist Chuck Girard a copy of "All Summer Long" and instructed him to learn "Little Honda". Usher then recruited a group of studio musicians – including Glen Campbell and Hal Blaine !! – to record an album of Honda-related songs for Mercury Records, with production credited to Nick Venet (primarily known for signing the Beach Boys and producing their earliest material), although Usher was obviously the brains behind the record. Aside from "Little Honda", most of the songs were written by Usher and KFWB disc jockey and lyricist Roger Christian. The album's cover showed a four-member group and its liner notes contained an elaborate back story, penned by Christian, which posited one Ritchie Burns as the founder and leader of the band. (The photos and bios were totally bogus!) At the time the album was delivered, the name of the group had not been decided. Under consideration were the names "The Rising Sons" and "The Hondells". Venet chose the latter and released "Little Honda" as a single under the new group name. So the non-existent Hondells, produced by Beach Boy rival Gary Usher, recorded by the Wrecking Crew including Glen Campbell and Hal Blaine and credited to former Beach Boy producer Nick Venet released Brian Wilson's song (duly credited) and it started climbing the Billboard Hot 100! As the song climbed the charts, Usher assembled a band to tour in support, and "Little Honda" eventually peaked at No. 9 on the U.S. pop singles chart! Once Brian Wilson noticed all this he rushed out the "All Summer Long" album and the "Little Honda" single. "Little Honda" peaked at #65 on the Billboard Hot 100 for the Beach Boys, but became an international favorite, rising to #1 in Sweden, #5 in Denmark and #8 in Norway in early 1965 as cited by a contemporary issue of Billboard, #15 on Canada's national RPM chart, and concurrently #44 in Germany where the Hondells version was non-existent due to the lack of International distribution.

On regional North American charts the Beach Boys' recording was particularly popular in Los Angeles, Washington DC and Minneapolis (all #2), Vancouver (#3), Richmond (#4), Montreal (#6), San Jose (#8), and came close to top ten in Miami, Cincinnati, Winnipeg and in Springfield and Manchester in New England, so why was it a slug on the nation charts - it was certainly getting airplay in key markets?

So here's a real Scooby Doo mystery for you buckaroos. Was Brian Wilson distracted by his dealings with Terry Melcher (the song after all, fit perfectly into a Rip Chords set-list)? Was Melcher even involved? How did Gary Usher get a hold of a pre-release tape of "Little Honda" and if he was stealing it, why did he credit Brian Wilson who collected the royalties? Why did he credit his own production to former Beach Boy producer Nick Venet and presumably cut him in on the take? And if Chuck Girard was really the vocalist backed by The Wrecking Crew, why did they invent the fictitious Ritchie Burns and the non-existent Hondells? What did Glen Campbell and Hal Blaine know and when did they know it? Who the heck are these lip-syncing sock puppets: https://www.youtube.com/watch?v=IHmRxpumtB4? (By all accounts that's Chuck Girard pretending to sing lead).

Confused yet? My theory is that Brian and Melchor cooked all this up to confuse addled Carl into not noticing that Glen Campbell played on both recordings! Lol, you can't make this stuff up.

Little Honda
~ The Beach Boys ~

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[Drumbo]

This song holds the distinction of being the first number 1 song on Billboard magazine's then newly created Hot 100 chart in 1958. It spent two weeks at the number 1 spot on the pop chart and also reached the top ten on the Billboard Country and Rhythm and Blues charts. It reached #4 in the UK.

Sharon Sheely penned the song when she was only fifteen years old having met Elvis Presley, and he encouraged her to write. Sheely sought after Rick Nelson to record the tune. Lore says that Sheely drove to Nelson's house, and decided she might be able to meet the star if she claimed her car had broken down. Rick came to her aid, and that was when Sheely sprang the song on him. Sheely's version was much faster. Rick recorded the song with Glen Campbell, slowing it down with a more laid back feel. Sheely went on to became a successful songwriter working with Eddie Cochran.

Poor Little Fool
~ Rick Nelson ~

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[Publius]

ROCKUMENTARY: OCTOBER 18, 1972

Cue the Rockumentary theme!

San Remo Golden Strings: “Festival Time”

#5 – The Moody Blues: “Nights in White Satin”

The Moody Blues had released no fewer than seven successful albums since Justin Hayward joined the group in 1966. Their most recent, “Seventh Sojourn”, had only one song released as a single in the US, and it only did moderately well. It wasn’t even the best song on the disk. I found “Sojourn” to be a disappointment, but nothing like the disaster of “Octave” in 1978. From 1974 to 1978, the band split up and tried different solo and duo acts, but they found they needed to come together again to be successful. In 1981, their disk “Long Distance Voyager” would re-establish them at the top of the game.

In 1971 and ‘72, a number of singles were released in the US from their 1967 disk “Days of Future Passed” and their 1968 disk “In Search of the Lost Chord”. These songs had long been known to FM Progressive Rock listeners. Now they would go mainstream on American AM radio. This was the concluding number from “Days of Future Passed”, written by Hayward, and it is symphonic in scope.

The Moody Blues: “Nights in White Satin”

[Drumbo]

No controversy here, this is Glen and the Crew.

Help Me Rhonda
~ The Beach Boys ~

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[left that other site]

I loved the Moody Blues!

Although there was always some clown who would say that “Nights in White satin” was actually “Knights in White satin’ and was, of course:

RAYSISS!

[Publius]

They are still my favorite group. Only Hayward, Lodge and Edge are still with the band. They hire outside musicians for concerts to replace Moraz and Thomas. These days, they are playing Indian casinos.

[left that other site]

Well...Indian Casinos aren’t really a bad venue. The hard Rock is owned by the Seminoles down here in FL.

[Publius]

But when you consider the venues they used to play, it’s quite a comedown.

[Publius]

ROCKUMENTARY: OCTOBER 18, 1972

#44 – Harold Melvin: “If You Don’t Know Me by Now”

This was a precursor to the Philadelphia Sound with Kenny Gamble and Leon Huff at the console.

Harold Melvin: “If You Don’t Know Me by Now”

[left that other site]

I suppose.

But the tickets cost more!

[Drumbo]

Here's another history making #1 that Glen Campbell sits on. "The Ballad of Mack the Knife", originally "Die Moritat von Mackie Messer", is a song composed by Kurt Weill with lyrics by Bertolt Brecht for their music drama Die Dreigroschenoper, or, as it is known in English, The Threepenny Opera. It premiered in Berlin in 1928.

"Mack the Knife" was introduced to the United States hit parade by Louis Armstrong in 1956, but the song is most closely associated with this version by Bobby Darin, who recorded it at Fulton Studios on West 40th Street, New York City, on December 19, 1958 (with Tom Dowd engineering this legendary recording).

Even though Darin was reluctant to release the song as a single, in 1959 it reached number one on the Billboard Hot 100 and number six on the Black Singles chart as well as earning him a Grammy Award for Record of the Year.

Dick Clark had advised Darin not to record the song because of the perception that, having come from an opera, it wouldn't appeal to the rock & roll audience. In subsequent years, Clark recounted the story with good humor. Frank Sinatra, who recorded the song with Quincy Jones on his "L.A. Is My Lady" album, called Darin's the "definitive" version. Darin's version is #3 on Billboard's All Time Top 100 and in 2003, the Darin version was ranked #251 on Rolling Stone's "The 500 Greatest Songs of All Time" list. On BBC Radio 4's Desert Island Discs, pop mogul Simon Cowell named "Mack the Knife" the best song ever written.

Mack The Knife
~ Bobby Darin ~

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