FReeper Canteen - Tunes For The Troops - 18 Oct 2014

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

[Drumbo]

This song has dozens of stories connected to it. The instrumental track was recorded on April 2, 1964 and although Wrecking Crew alumni are credited, the line up doesn't make much sense. Hal Blaine is credited for timbales which may refer to the stick clicking on the bridge, but it's unlikely that producer Brian Wilson trusted brother Denny with the drum parts when Hal Blaine, the hottest drummer in the world was in the room. Steve Douglas is credited with tenor saxophone and Crewmate Jay Migliori with baritone saxophone, but aside from Ray Pohlman on bass guitar, no one else from the Crew are mentioned other than engineer, Chuck Britz. It's obvious that there are several guitar parts on the track and Carl Wilson just wasn't that versatile. It's very likely that Glen had a hand in the reverb saturated guitar solo. Beach Boy Al Jardine is also credited with playing bass, although it was never his primary axe.

During the session, Brian Wilson dismissed his father Murry as manager of The Beach Boys. The vocals were recorded during a session eight days later on April 10. The lead vocal features Mike Love on the verses and Brian Wilson on the choruses with backing vocals from Brian, Carl & Dennis Wilson, Mike Love and Alan Jardine (the soaring falsetto is Brian Wilson).

I Get Around
~ The Beach Boys ~

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[ConorMacNessa]

Hear me snore!


"Dia shábháil ar fad anseo!"

Genuflectimus non ad principem sed ad Principem Pacis!

Listen, O isles, unto me; and hearken, ye people, from far; The LORD hath called me from the womb; from the bowels of my mother hath he made mention of my name. (Isaiah 49:1 KJV)

[Publius]

HAD SCHUBERT LIVED TO AGE 65

BY GRAHAM JOHNSON

As a result of their journey to see the ageing Goethe in 1831, Schubert and Vogl were able to, at last, perform for the old Lion of Weimar. The enthusiastic reception of the songs prompted a return to that poet's texts and a preoccupation with the second part of Faust, leading to the great work for various voices and orchestra which is counted as the greatest of all musical monuments to the poet.

Having dabbled in Scott and Shakespeare in his twenties, Schubert followed Schumann in an attempt to encompass world literature in song with settings of translations of Burns, Byron, Moore, Hans Christian Anderson, and even Hugo and Gautier. The composer's friendship with Thackeray and his later acquaintance with Dickens played a part in this world-view. He became friendly with a number of Austrian poets, successors to Seidl and Bauernfeld, who would have remained unknown to music lovers and missed out on immortality if it had not been for Schubert's avuncular interest in their work. His only successful opera made the name Adalbert Stifter as famous in musical circles in the 1850s as the name Wilhelm Müller had been in the 1820s. The early masterpieces Winterreise and the connected Heine and Rellstab cycles were stepping stones to the later glories of the song repertoire: the immortal Tieck and Uhland cycles.

It was these later pieces, as well as several meetings between the two composers, that so influenced the early songs of Brahms, dedicated to Schubert, who bemoaned the unfortunate early deaths of his younger contemporaries Mendelssohn and Chopin. Can one imagine a world without the late Schubert Nocturnes for piano, dedicated to Chopin's memory, and written for Clara Schumann? Above all, he mourned the loss of his younger friend and admirer Robert Schumann whose "Papillons", "Carnaval" and "Dichterliebe" had so influenced his song- and piano-writing in his early forties.

Schubert needed to be persuaded to travel abroad in the first instance and then acquired a taste for it. He relished his jaunts to Germany to visit the Schumanns and to see his publishers, to England where his fame was taking root, and to Italy for holidays in the more prosperous circumstances of his later life.

His last work, his swan-song if you like, was a group of epigrammatic settings of Paul Heyse's Italianisches Liederbuch, translations from Tuscan originals which appeared in 1860. These songs were of such perfection that no other composer dared to set them again.

[Publius]

ROCKUMENTARY: OCTOBER 18,1972

#2 – Bill Withers: “Use Me”

Bill was still on top of the world.

Bill Withers: “Use Me”

[Drumbo]

When I Grow Up (To Be A Man)
~ The Beach Boys ~

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[Drumbo]

Here's one that took me totally by surprise because I've seen Roger perform this solo, accompanying himself on guitar. At least twice on this track though, he's telling Glen, "One more". It is also interesting that Glen was "the seventh out of seven sons". Whether "Papa was a pistol" is undocumented.

Dang Me
~ Roger Miller ~

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[Drumbo]

Surfin'
~ The Beach Boys ~

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[Drumbo]

A Little Bit Me, A Little Bit You
~ The Monkees ~

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[ConorMacNessa]

Thank you so much, Maestro - I knew of some of these facts, but this narrative augments my knowledge - some connections I had not heard of before.


"Dia shábháil ar fad anseo!"

Genuflectimus non ad principem sed ad Principem Pacis!

Listen, O isles, unto me; and hearken, ye people, from far; The LORD hath called me from the womb; from the bowels of my mother hath he made mention of my name. (Isaiah 49:1 KJV)

[Drumbo]

Brian Wilson and the Wrecking Crew did this one ala Phil Spector's Wall Of Sound. Hal Blaine's tympani are the bomb!

Do You Wanna Dance
~ The Beach Boys ~

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[Publius]

I liked the way Johnson crashed the career of other composers. That reference to "Faust" killed off the second movement of the Mahler Eighth. The final reference killed off the entire career of Hugo Wolf.

I'll admit when I read the sentence about the late Noctures for Piano written for Clara Schumann, a tear almost fell from my eye.

We lost a lot of great music.

[Publius]

ROCKUMENTARY: OCTOBER 18,1972

#20 – Johnny Nash: “I Can See Clearly Now”

This reggae artist had his biggest hit.

Johnny Nash: “I Can See Clearly Now”

[Drumbo]

Kicks
~ Paul Revere & The Raiders ~

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[Drumbo]

Written and produced by Sony Bono, the Wrecking Crew turned this song upside down when they heard it. Wrecking Crew bassist Carol Kaye (a female ahead of her time) asserts that at the session she devised the distinctive syncopated bass line, replacing the original walking bass line in the prepared Harold Battiste arrangement.

"It was a nothing song, and then the bass line kind of made that."

Hal Blaine's drum fills helped!

The Beat Goes On
~ Sonny & Cher ~

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[Drumbo]

Good Vibrations
~ The Beach Boys ~

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Be Bop Baby
~ Rick Nelson ~

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[Drumbo]

Cherish
~ The Association ~

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[Drumbo]

The Hand That Rocks The Cradle
~ Steve Wariner & Glen Campbell ~

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[Publius]

ROCKUMENTARY: OCTOBER 18, 1972

#1 – Chuck Berry: “My Ding-a-ling”

Chuck had a habit of spending time in prison due to his predilection for teenage girls, but now he was back in fine form. This is a cute and naughty song.

Chuck Berry: “My Ding-a-ling”

That’s it for tonight. Next week it’s October 1973. Cue the Rockumentary theme!

San Remo Golden Strings: “Festival Time”

[ConorMacNessa]

Somewhat serendipitously. I downloaded La Damnation de Faust, a work I had the pleasure to sing as a Tenor Chorister in the Oratorio Society of Washington a couple of decades ago under the baton of the late Rafael Frühbeck de Burgos. A most impressive conductor - he conducted without a score.


"Dia shábháil ar fad anseo!"

Genuflectimus non ad principem sed ad Principem Pacis!

Listen, O isles, unto me; and hearken, ye people, from far; The LORD hath called me from the womb; from the bowels of my mother hath he made mention of my name. (Isaiah 49:1 KJV)