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Speaker 1: Hudson River Radio dot Com.

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Speaker 2: It's boring, You're boring everybody. Quit boring everyone.

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Speaker 3: Hey, this is Jesse Carmichael from Room five. Hi, this

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is Phil Margol of the Tokens.

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Speaker 4: Hello.

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Speaker 5: It's Nicole Atkins on the Rock and Roll History Show.

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Speaker 2: Hey, everybody, welcome back to the Rock and Roll History

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Show on Hudson River Radio. I'm Brian Horowitz. This week

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we're going to continue our look at the influence of

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classical music on rock and roll tunes. We trust that

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you did your homework and watched your Looney Tunes and

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Tom and Jerry's and all that good stuff. But before

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we hop in, as always, allow me to introduce all

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the crambones joining us here tonight, as always, first and foremost,

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from the Richter Observatory. He looks fine on the outside,

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but on the inside he knows his sock is slowly

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sliding down inside his shoe. Neil Richtor is back. I

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hate it, and it's always when I'm wearing boots because

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you can't do anything about it.

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Speaker 3: Keep it classy, everybody.

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Speaker 2: Yet, from paranormally yours. She went into her boss's office

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and said, I have three companies after me, so I'll

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need a raise to stay here. So her boss gave

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her a raise, and on the way out, her boss asked, well,

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which companies were after you? She said, Electric Water and.

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Speaker 4: Cable bing gun.

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Speaker 2: Hello everyone. From the silver screen she saw two people

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walking their dogs. One was a big lab and the

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other was a tiny Chiwow. They decided to stop at

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a bar to get a drink. The lab owner walks

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in and the bartender says, hey, you can't bring your

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dog in here. The owner says, well, it's my seeing

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eye dog, and the bartender says, oh, I'm really sorry.

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Please come in have a seat. Then the other one

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walks in and the bartender says, I'm sorry, you can't

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bring your dog in here, and she says, well, it's

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my seeing eye dog. Partimer says a chihuahua. Give me

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a break, and the owner goes, they gave me a chihuahua.

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Speaker 1: Mercedes canters back higher, really good, Hey, everybody, and.

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Speaker 2: Our official teacher he had a kidnapping at school, but

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don't worry. The kid eventually woke up. Don Kelly is back,

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but wouldn't be the first time and last, but not least.

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The host of shaving Cream she was feeling kind of down.

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And if Fred said a friend said cheer up, it

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could be worse. You could be stuck in a deep

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hole full of water. He meant. Well, Bar revealed.

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Speaker 6: Hey, everyone, all right, so we're going to continue our

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adventures down the classical music realm here.

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Speaker 2: Like I mentioned at the beginning, Bugs, Bunny, Tom, and Jerry,

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great way to kind of ease your way in. Another

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great way to do it is go down the YouTube

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rabbit hole of Liberaci. I don't remember we I think

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a long time ago we talked about Liberaci, but he

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was very popular starting in the forties, fifties, sixties, and

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too the seventies. He famously said a bunch of times

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something along the lines of he plays classical music with

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the boring parts left out, and he's exactly right. So

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he had a lot of TV specials, He had his

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own TV show, he had guest artists on, he would

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play all different things. So just look up Liberaci. We'll

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talk about him a little bit more on a future show.

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Speaker 1: And he was quite a show.

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Speaker 2: He was a shameless self promoter, sparkly yes, yeah, absolutely shameless.

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When critics attacked him, he said, I'm crying all the

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way to the bank. Oh yeah, you would say that

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over and over again. As he got older, he would

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lose he was losing his hair, and he was so

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afraid of somebody seeing him that you could probably tell

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it's a two pay or what's a what would you

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call a super two pey megatupe. But he was so

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paranoid about losing his hair that he actually slept in

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his two pays.

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Speaker 1: That poor man.

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Speaker 2: Yeah, yeah, all right, we're gonna take a quick break

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and be back with more good stuff right after this.

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Hudson River Radio dot Com. Your mom likes us. This

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concludes the first part of this cassette. Please turn the

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cassette over and begin again on side too.

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Speaker 1: This is Hudson River Radio dot.

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Speaker 2: Com and welcome back. We're up to Barbara and I

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can't wait to hear what Barbara has for us here.

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Speaker 1: Okay, Well, the modern day song influenced by classical music

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that I chose is the Show Must Go On, as

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performed by Three Dog Night. It borrows from the eighteen

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ninety seven military march called Entrance of the Gladiators. I

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got a lot of foreign words here, so sorry. Entrance

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of the Gladiators by composer Julius Fuchik born in Czechoslovakia

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in eighteen seventy two, when it was part of the

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Austro Hungarian Empire. The march uses chromatic scales, which are

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sets of twelve pitches used in tonal music. For example,

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the way I understand it, comparing like a piano to

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a trombone. Trombone is capable of a continuously variable pitch

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because you use your mouth to play it, which can

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move on the slide in different ways, and the sliding

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part of the trombone, meaning that it can produce microtones

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or notes between those available on a piano, which is

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just keys and it's not.

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Speaker 2: Yeah, chromatic is safe if you just played every key

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of the piano in order, all the way up, or

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every fret on a guitar all the way up right.

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So a prime example we talked about last week Phantom

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of the Opera, Bop up, bump up. That's chromatic.

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Speaker 1: If you listening to that, I was going to ask

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you to weigh in, thank you.

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Speaker 2: Yeah, micro zones and stuff. I don't think we'll ever

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get to touch on that here. Yeah.

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Speaker 1: I was reading the explanation and I read it like

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four times and every time I went.

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Speaker 2: Huh, yeah, and making it way more complicated than it

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needs to be.

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Speaker 1: Yeah. And then when I read the part comparing the

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trombone of the piano, I kind of understood it a

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little bit. So thank you. So Future wrote the March

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on October seventeenth, eighteen ninety seven, and Sarajevo, as he

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had been stationed there as the Austro Hungarian Army's bandmaster.

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And I have to tell you, every time I typed

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Austro Hungarian at autocorrect, tried to change it to something else,

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wouldn't let me tape it. The original title of the piece.

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Now here's where we get into the chromatic and things.

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The original title of the piece was called Grand March Chromatique,

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but Future later changed it after having read the eighteen

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ninety five novel Quovadis, which described a gladiator appearance which

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really really impressed him. So let's hear a bit of it.

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The first portion of the piece has been used in

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many modern day songs, including nineteen sixty one's Goodbye Cruel

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World by James Darren, nineteen sixty two's Palisades Park by

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Freddy Cannon. That we've talked about and played nineteen sixty

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threes yackety Sacks by Boots Randolph, nineteen eighty nine's Esther

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by Fish, and twenty twenty two's Freak by Demi Lovado.

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In the nineteen seventy three film version of God's Spell,

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it is hummed by Judas as he betrays and crucifies Christ.

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And also in this film, Christ and his disciples are

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dressed and made up as clowns.

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Speaker 2: I hear it in the back of my head when

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I walk into a party where I don't know anybody.

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Speaker 1: Okay, then yeah.

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Speaker 2: Maybe that might be a bigger problem.

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Speaker 1: Now, So do I thank you? The modern day song

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influenced by this classical piece that I've chosen. It's called

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The Show Must Go On, released in nineteen seventy three

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by Leo Sayer, who had performed it made up as

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a clown. However, we're going to hear nineteen seventy four's

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three Dog Night cover, which I remember fondly from my childhood.

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So let's hear it now and we'll talk a bit

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about Redog Night afterwards.

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Speaker 5: All the wild Man basic God Jack can't act. There

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are a.

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Speaker 4: When you I've been a fool, A fool room a

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second show.

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Speaker 2: Baby there the nooma is.

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Speaker 7: Trying to be bulling around.

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Speaker 4: After block, I wish maybe in ten the walls then

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let me out, let me out. After l.

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Speaker 5: I wasted time, waste and waste and wasted time wild wild,

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I said.

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Speaker 4: The show go blas last also and blast, I wisted down.

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We still waited after the time.

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Speaker 5: Coming on the while, what's that?

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Speaker 4: The show go long?

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Speaker 2: I wish your host help me get away, leave me out.

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Speaker 4: I all away from the show. The show.

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Speaker 1: Okay. So Three Dog Night is an American rock band

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formed in nineteen sixty seven, and they had numerous lineup

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changes over the years. They're famous for songs like Joy

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to the World and Mama Told Me Not to Come.

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They started out with a different name. Vocalists Stanny Hutton,

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Chuck Negron, and Corey Wells had formed the band Wood

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in nineteen sixty seven and had made some recordings with

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Brian Wilson of The Beach Boys, and were on the

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verge of being one of the first artists to sign

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to the Beach Boy's label, Brother Records. However, when they

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were in studio with Wilson, they did not meet Wilson's expectations. Furthermore,

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Wilson's bandmates encouraged him to concentrate instead on the Beach

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Boys and their contractual obligations. So without Wilson's support, Redwood

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changed their name to Three Dog Knight and in nineteen

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sixty eight made their debut at Hollywood's Whiskey Yegogo. They

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had been in the process of recording their first album

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and were pleased to hear some good reactions on their

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performance coming from the Whiskey Ygogo audience. In nineteen seventy two,

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they hosted the very first Dick Clark's New Year's Rock

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and Eve. The Show Must Go On as the eighth

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and final track on the nineteen seventy four album Hard Labor.

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Speaker 3: Now.

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Speaker 1: I know we've talked about this before, so if anybody

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wants to weigh in, please do. The name three Dog

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Knights suposedly comes from a magazine article about Aboriginal Australians,

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where it was explained that on cold nights they would

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sleep with a dingo for warmth, on very cold nights

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too dingoes, and on freezing nights it would be a

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three dog night.

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Speaker 3: I love that so much.

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Speaker 2: Just I used to have large dogs and I can relate,

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you can relate.

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Speaker 3: Yeah.

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Speaker 1: So there's a little controversy over whether that's true or not.

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But I like the story, so I'm sticking with it.

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Speaker 3: Let's keep it.

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Speaker 1: Yeah, we'll keep it.

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Speaker 2: Yeah, don't ruin a good story. Exactly, exactly. A.

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Speaker 1: So, how did we get from a military march to

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circus clowns? No, they didn't give the soldiers big shoes

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and make them march.

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Speaker 4: No.

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Speaker 1: It turns out that there's this Canadian bandmaster slash composer

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Louis Philippe Laurendeau. Uh, Lorendeau, I don't know, really bad

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with these foreign words.

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Speaker 4: Uh.

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Speaker 1: He rearranged the piece for an American wind band just

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around the same time as circuses, particularly Ringling Brothers, Barnum

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and Bailey Circus, were becoming popular in the US and

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began using the rewritten piece to introduce clowns, and understandably,

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right after, the military then dropped it as one of

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their martians.

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Speaker 2: You wonder why.

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Speaker 1: So the rearranged version became known as Under the Big Top.

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Speaker 2: And there you have it. Okay, great, yeah, I can

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see that would ruin the whole mood. Yeah, yeah, it is.

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It's easy to drive a tiny little car to also,

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that's the problem.

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Speaker 1: Hey, you can fit more clowns in a Volkswagen than

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you can a jeep.

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Speaker 2: True, true, it's physics. What can I say?

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Speaker 1: Yeah?

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Speaker 2: All right, thanks Barb. Excellent, John, you're up. What do

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you have for us? You're mute to John.

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Speaker 8: My selection tonight was It's not one particular piece of music.

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It was actually something that I thought was kind of

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beautiful that I found in my research. My composers tonight

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were two gentlemen. One born in seventeen fifty six that

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would be Wolfgang Amadeus Mozart, and one born in nineteen

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forty seven that would be Ian Scott Anderson of jethro Tel.

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You all know by now if you listen to this show,

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Tall is pretty much one of my favorite bands, if

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not my most favorite band. Of course.

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Speaker 2: What do I like about jef Rotel?

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Speaker 8: Obviously their music there, at least in my non you know,

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musical knowledge kind of way. I like how they mix

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such a variety. They have rock, they have fulk, they

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have classical, they have little bits of all kinds of

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genres out there. And Neil could speak to this much

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better than I could. But they infuse a lot of

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classical in there in the work that they do. And

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in two thousand and six, on the two hundred and

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fiftieth anniversary of Mozart's death, Ian Anderson participated in something

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called a Mozart Metali and the Spirits of the Spirits

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of Mozart. It was filmed and actually recorded in the

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Museum Quarter in Vienna, and Jeth Throtel basically took his

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own take along with a whole variety of other musicians

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that I'm not going to read off the names, but

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we're going to focus on I want to focus on

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Ian Anderson and Mozart himself. But I love how this

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man takes his flute, which is what I love about

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about his musical abilities, and just kind of takes Mozart's

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music and makes it his own. And I really enjoy

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that about it. I would recommend everybody out there, if

256
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you have time, to take a listen or viewing of

257
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the entire Spirit of Mozart. It is a fifteen part

258
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musical performance and Ian Anderson does part number ten and

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it's really is kind of a beautiful take on Mozart's

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music that only Ian Anderson can do. So Brian let's

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play a little piece.

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Speaker 4: Bet Okay.

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Speaker 8: If that doesn't make you want to kind of take

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another look at Mozart, I don't know what does. But

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it really is a testament to the immense talent of

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Ian Anderson and his colleagues there that they can take

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that vibrant music that Mozart himself created and give it

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a twenty first century twist. I hope you all enjoyed it,

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and I strongly recommend you give that a listen. It

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was recorded live in Vienna, and oh how I wish

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I could have been there.

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Speaker 2: Yeah, that would have been cool, the whole bit and everything. Yeah.

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Speaker 3: Yeah, Well, if we can believe the nineteen eighties film

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about Mozart Ama dais he that movie, he was quite

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the rock star himself for in his.

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Speaker 2: Day he was the rock star. But that movie I

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don't believe.

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Speaker 3: It, So I had a feeling it might be able

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to not. Yeah.

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Speaker 1: No, they first license.

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Speaker 8: What's interesting the the the When I was reading about this,

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they actually gave both Ian Anderson and Mozart himself top

283
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billing on this, so I thought that was kind of

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fun as well.

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Speaker 2: Nice, except I'm guessing only one got paid. Yeah, yeah,

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but it's it's the Mozart.

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Speaker 4: Yeah.

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Speaker 8: The Vile was wonderful too. By the way, I can't

289
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think of her name. It escaped me at the moment.

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I was just kind of focusing on Mozart and and

291
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Ian Anderson, but they were all fabulous in this performance.

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And again I was two hundred and fiftieth anniversary of

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Mozart's death in two thousand and six.

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Speaker 2: Interesting.

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Speaker 3: Well back when you know Jethro tell no, I won't

296
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say getting started, but in the early seventies. Yeah, a

297
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lot of that Jethro tell Emerson, Lincoln Palmer, who I

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talked about a little bit in the previous show, all

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those bands like Yes and all. It wasn't called Prague

300
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rock or you know that that's the label now. It

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was called classical rock, not classic rock because it hadn't

302
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become classic yet. Classical rock. Yeah, so you know it

303
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was oh yeah, there was no you know, there was

304
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no mystery that was It was definitely you know, directly

305
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with all the different time signatures, particularly going on in

306
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that one, I was like, yeah, I was, I was.

307
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Speaker 2: Going back for where it was everywhere.

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Speaker 3: It was everywhere, yeah, and that's that's not easy to play.

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Speaker 8: So no, it's it's interesting because the the band accused me.

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The orchestra was the Vienna Radio Symphony Orchestra that played

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alongside Ian Anderson and his band in addition to the

312
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other performers. But they have a history of collaboration, meaning

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Jethro Tull, Andy and Anderson in particular. I have an

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album that I absolutely love that where the London Symphony Orchestra.

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Actually it was an interesting twist. Instead of rock beating

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off of classical, the London Symphony Orchestra took a whole

317
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selection of tall tunes and basically turned them into classical

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masterpieces and it was called a classic case. The London

319
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Symphony Orchestra plays the music of Jethro Tull. So there

320
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are a lot of fun that band. I've I've seen them,

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you know, a couple of times, as you all know,

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and I just love their music.

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Speaker 2: Yeah, that's that's another good way to get into the

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classic world if you want to look are pops orchestras,

325
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because that's what they do. They take popular songs and

326
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do what they did with Jethro Tull, So you can

327
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go in knowing the songs and just hearing a new

328
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arrangement and how it's done by an orchestra, So not

329
00:24:15,240 --> 00:24:16,079
a bad way to start.

330
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Speaker 3: And I believe Ian Anderson. I don't know if it's

331
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under the Jethro Toll banner or not, but it has

332
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a new album just came out recently.

333
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Speaker 2: I did not know that.

334
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Speaker 3: I have to.

335
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Speaker 2: I have to do a little investment.

336
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Speaker 3: Check that out. And on a side note, O Jethrow

337
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Toll in the Rock and Roll Hall of Fame, I

338
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don't think so.

339
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Speaker 8: Absolutely, yeah.

340
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Speaker 2: They're not.

341
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Speaker 3: I don't believe so.

342
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Speaker 2: Oh my god, I don't know. Yeah, I'd have to

343
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look that up myself.

344
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Speaker 8: That would be, in my humble opinion, appalling if it was.

345
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You know, if that is indeed correct.

346
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Speaker 1: We're really upsetting.

347
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Speaker 6: John m h.

348
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Speaker 3: Just listen to It's not true, but will.

349
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Speaker 2: John, Yeah, listen to Entry of the Gladiators. It'll make

350
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you feel better. Yes, all right, thanks John. We're gonna

351
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take a quick break and be back with one more

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right after this. Hudson Riverradio dot Com. Hudson Riverradio dot Com.

353
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All right, one more classically influenced rock song coming up

354
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right now. We're going to talk about a group called

355
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The Toys, who were a girl group from Jamaica. Queens

356
00:25:41,440 --> 00:25:44,480
in New York City, made up of Barbara Harris who

357
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was born in nineteen forty five from North Carolina, Barbara

358
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Parrott born in nineteen forty four, also from North Carolina,

359
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and June Monteiro born in nineteen forty six who was

360
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from Queens. Who is from Queens, I should say she's

361
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still around. Formed a vocal group in high school. A

362
00:26:02,599 --> 00:26:05,039
friend of theirs became their manager and named them the

363
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Charlotte's because that, as we've heard in recent shows, it

364
00:26:10,160 --> 00:26:12,279
was like the way to go for everything. Everything was

365
00:26:12,359 --> 00:26:17,039
an it get famous. Yep, apparently we should bring that back.

366
00:26:20,119 --> 00:26:21,599
Speaker 3: Cram Bonnettes, cram Bonnette.

367
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Speaker 1: I want that on a T shirt.

368
00:26:26,000 --> 00:26:30,680
Speaker 2: I like it. Okay, sounds good to me. Uh So,

369
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this friend got them work doing backup vocals. They shamelessly

370
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kind of walked up and down near the Brill building

371
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and sang outside and all that, and it worked. They

372
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performed at a bunch of talent shows, but one in

373
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particular in Brooklyn got them hooked up with a better

374
00:26:45,720 --> 00:26:50,519
manager named Vince Mark and a record executive named Bob Crewe.

375
00:26:51,440 --> 00:26:53,920
We mentioned Crew in the past. Crew wrote a bunch

376
00:26:53,960 --> 00:26:56,880
of hits, including Big girls, don't cry, can't take my

377
00:26:56,960 --> 00:27:01,079
eyes off you, he wrote Lady Marmalade. They renamed the

378
00:27:01,119 --> 00:27:04,039
group the Toys and gave them a contract with his company,

379
00:27:04,440 --> 00:27:07,240
Dinah Voice Records. They just happen to be in the

380
00:27:07,279 --> 00:27:10,160
right place at the right time. Not the Toyottes, not

381
00:27:10,279 --> 00:27:14,359
the Toylettes, just the Toys. They were, I guess, trendsetters

382
00:27:14,799 --> 00:27:17,799
exiting the era, the era of there you go.

383
00:27:18,160 --> 00:27:20,519
Speaker 3: As long as it wasn't the toilets, then we're all right.

384
00:27:22,000 --> 00:27:28,559
Speaker 1: Not the Toyotas either, Yeah, all right.

385
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Speaker 2: Most of the songs they recorded were written by Sandy

386
00:27:31,599 --> 00:27:35,279
Lindzer and Denny Randell, who also worked with Crewe. Their

387
00:27:35,400 --> 00:27:39,400
initial album wound up selling over two million copies, which

388
00:27:39,480 --> 00:27:40,200
is phenomenal.

389
00:27:40,759 --> 00:27:41,079
Speaker 4: Wow.

390
00:27:41,519 --> 00:27:44,799
Speaker 2: They went on tour with Geene Pitney, who was huge

391
00:27:44,839 --> 00:27:47,279
at the time and a name that probably kind of

392
00:27:47,319 --> 00:27:50,480
faded more than it should. But Jean Pitney was such

393
00:27:50,759 --> 00:27:53,559
a big name that the Toys wound up jumping over

394
00:27:53,680 --> 00:27:57,440
to his label after the tour, his labels Music Core Records.

395
00:27:57,920 --> 00:28:01,200
But unfortunately they couldn't replicate their initial success. They wound

396
00:28:01,279 --> 00:28:03,640
up bumping heads and they split up. But while they

397
00:28:03,680 --> 00:28:08,400
were on tour, something I think we've touched basically in

398
00:28:08,519 --> 00:28:11,640
the past that these artists were making most of their

399
00:28:11,680 --> 00:28:14,720
money performing, not as much on the record deal. The

400
00:28:14,799 --> 00:28:18,480
record companies make the money on the records, so Dina

401
00:28:18,559 --> 00:28:20,960
Voice was very angry that they were going all over

402
00:28:21,000 --> 00:28:23,839
the UK touring with Gene Pitney and not making new

403
00:28:23,920 --> 00:28:26,519
records for the record company. So the group was making

404
00:28:26,559 --> 00:28:28,680
the money and the record company wasn't, so there was

405
00:28:28,960 --> 00:28:31,440
kind of friction all the way around. By the time

406
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that they split up, Barbara Harris is still performing. She

407
00:28:35,519 --> 00:28:37,440
has a bunch of shows listed in the New York

408
00:28:37,519 --> 00:28:40,119
City area. The two the other two went on to

409
00:28:40,200 --> 00:28:42,960
do session work. They are still around, but I don't

410
00:28:42,960 --> 00:28:44,480
know what they're up to now and I couldn't find

411
00:28:44,519 --> 00:28:47,599
anything about them unfortunately, So if anybody knows, let us know.

412
00:28:48,559 --> 00:28:51,759
The Toy's biggest hit was a song called A Lover's Concerto.

413
00:28:52,039 --> 00:28:55,960
Lindser and Randell took a piano practice piece called Minuet

414
00:28:56,039 --> 00:28:59,400
in G Major and reworked it. The minuet was first

415
00:28:59,400 --> 00:29:02,680
published in manuscript by Johann Sebastian Bach, who we've talked

416
00:29:02,720 --> 00:29:05,640
about several times, even in last week's show. He was

417
00:29:05,759 --> 00:29:10,119
born sixteen eighty five, died in seventeen fifty. The book

418
00:29:10,240 --> 00:29:14,680
was titled Notebook for Anna Magdalena Bach, his second wife.

419
00:29:15,599 --> 00:29:17,880
He and his wife put the book together. It was

420
00:29:17,960 --> 00:29:21,680
put out in seventeen twenty five. For a long time

421
00:29:21,720 --> 00:29:23,720
it was assumed that Bach wrote the piece, but we

422
00:29:23,839 --> 00:29:27,480
now know his notebook contained pieces by other composers that

423
00:29:27,720 --> 00:29:30,680
Bach and his wife had compiled and put together. The

424
00:29:30,799 --> 00:29:35,039
minuet was written by a contemporary of his, named Christian

425
00:29:35,240 --> 00:29:39,720
Petsold born in sixteen seventy seven died in seventeen thirty three.

426
00:29:41,240 --> 00:29:45,599
Minuet is a French style dance, and the song that

427
00:29:45,680 --> 00:29:48,079
will go with it was also known as a minuet.

428
00:29:48,839 --> 00:29:52,599
So they took the minuet, which is originally written in

429
00:29:52,680 --> 00:29:54,880
a three four time like a waltz one two three

430
00:29:54,960 --> 00:29:57,839
one two three. They reworked it into a four to

431
00:29:57,920 --> 00:30:02,319
four time, added a motown sounding baseline to it, and

432
00:30:02,440 --> 00:30:05,440
then added the lyrics which followed the melody. It was

433
00:30:05,599 --> 00:30:07,960
a huge hit in the US and the UK when

434
00:30:08,000 --> 00:30:11,240
it was released in August of nineteen sixty five. So

435
00:30:11,400 --> 00:30:13,960
let's listen to the toys of Lover's Concerto, and then

436
00:30:14,000 --> 00:30:15,359
we'll come back and talk about.

437
00:30:25,400 --> 00:30:35,559
Speaker 7: How Gentles arret that ball work high up in the tree,

438
00:30:36,319 --> 00:30:38,400
Sarah laid the cloud with.

439
00:30:38,599 --> 00:30:50,359
Speaker 2: The melody fat in the other hill, the barbel that

440
00:30:50,559 --> 00:30:51,559
thing from a ball.

441
00:30:52,240 --> 00:30:53,599
Speaker 4: They just stayed for us.

442
00:30:54,079 --> 00:31:00,279
Speaker 1: Jumps to thought, I.

443
00:31:00,440 --> 00:31:00,759
Speaker 3: Do not.

444
00:31:07,200 --> 00:31:12,920
Speaker 7: Lost love me, send me and as you every time

445
00:31:13,400 --> 00:31:17,039
means cough ever make.

446
00:31:16,880 --> 00:31:17,680
Speaker 1: You time.

447
00:31:19,079 --> 00:31:23,640
Speaker 7: Nothing, I pur ascome please.

448
00:31:23,960 --> 00:31:25,039
Speaker 4: All ways to me.

449
00:31:25,960 --> 00:31:28,759
Speaker 2: You just stay in your hearty.

450
00:31:44,640 --> 00:31:48,799
Speaker 4: Because you shall.

451
00:31:48,720 --> 00:31:57,000
Speaker 7: Read I thought said, will walk out in the race

452
00:31:57,680 --> 00:32:00,240
either the singing.

453
00:32:13,400 --> 00:32:13,720
Speaker 4: Women.

454
00:32:44,279 --> 00:32:47,519
Speaker 2: How can you not love that song? It's so good,

455
00:32:48,920 --> 00:32:53,599
it's really good, and Neil was counting key changes his favorite.

456
00:32:53,279 --> 00:32:57,759
Speaker 3: Part modulations gets me right here.

457
00:32:57,759 --> 00:33:01,359
Speaker 2: Yep, awesome. So let's take a look at what that

458
00:33:01,480 --> 00:33:05,039
was based on the minuet from all those many many

459
00:33:05,079 --> 00:33:06,880
years ago. You're going to hear the similarity. Let me

460
00:33:06,920 --> 00:34:43,719
play it for you, instantly recognizable. Right yeah, yeah, so

461
00:34:43,880 --> 00:34:45,840
you go. It pays to take your music lessons. Go

462
00:34:46,000 --> 00:34:49,760
practice piano, even though it's been years. Go try anyway.

463
00:34:50,400 --> 00:34:53,719
So there you go. Two episodes of the influence of

464
00:34:53,760 --> 00:34:58,840
classical music on rock. I thought that was pretty absolutely fascinating, Brian, right, yep.

465
00:34:59,119 --> 00:35:01,480
So now yes, we have to get Mercedes to come

466
00:35:01,559 --> 00:35:04,320
check out a symphony. We have to ease you and

467
00:35:04,400 --> 00:35:06,679
we'll get you to check out a pop's orchestra. We'll

468
00:35:06,719 --> 00:35:11,119
go nice and slow. All right, okay, very cool? All right,

469
00:35:11,239 --> 00:35:15,960
any final thoughts before we pull the plug. It was fun,

470
00:35:17,039 --> 00:35:18,639
I thought, so I learned a lot.

471
00:35:19,039 --> 00:35:20,320
Speaker 4: Yeah, yep.

472
00:35:21,079 --> 00:35:23,280
Speaker 2: So it's worth going down the rabbit hole. Find something

473
00:35:23,320 --> 00:35:27,239
that interests you and and go explore. So open your mind,

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open your mind, Mercedes, open your mind, and come your mind. Man.

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All right, thank you Crambones for excellent selections as always,

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and thank you all for joining us for the Rock

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and Roll History Show. Don't forget to subscribe in your

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favorite podcast app and check out all the other shows

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that many of the Crambones do here at Hudson River

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Radio because there is something for everybody. We'll be back

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next week with another brand new episode. Until then, have

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a great weekend everybody, and peace.

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Speaker 4: Out a rock cop bottom.

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Speaker 2: Okay, bye bye. Hudson River Radio dot com a subsidiary

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of Glacier Entertainment LLC, potentially successful the multi hundred dollars

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Corporation