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Speaker 1: Hudson Riverradio dot Com.

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Speaker 2: Now a little more allegro than last time.

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Speaker 3: This is John Fulbright.

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Speaker 4: Hi, this is jar Williams.

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Speaker 5: Hi.

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Speaker 6: This is Mitch Margle of the Tokens.

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Speaker 7: Hi.

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Speaker 8: This is Gary us Bonds mad here on the Rock

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and Roll History Show.

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Speaker 6: Hello, everyone, Welcome back to the Rock and Roll History

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Show on Hudson River Radio. I'm Brian Horowitz. Tonight we're

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gonna do just a little bit of non bacterial culture.

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We're gonna talk about Beethoven, but we're not gonna go

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so deep that it's gonna hurt your brain. Really, it's

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gonna be a lot of fun, so stick around. I'm

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looking forward to hearing what all the crambones have picked.

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But before we hop in, it's always allow me to

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introduce all the cranmbones joining us tonight. First and foremost,

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from the Richter Observatory. He makes chili with only two

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hundred and thirty nine beans because one more would be

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too party. Neil.

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Speaker 4: Wow.

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Speaker 9: Yeah, Well, hey, I've got a dad joke for you

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real quick.

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Speaker 6: Bring it that.

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Speaker 9: We're talking about Beethoven. Now, do you know by the

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time he composed his ninth and final Symphony, he was

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like practically deaf. That was unheard of at the time.

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Oh oh, thank you, thank you.

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Speaker 1: The jokes are strong that they.

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Speaker 6: Flow freely amongst you and from paranormal yours. She says,

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if you can't beat them, join them. But try beating

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them anyway, because still be expecting you to join them,

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and you'll have the element of surprise like a ninja.

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Speaker 7: Absolutely, good evening, good day, good whatever.

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Speaker 6: Everyone, And from the silver screen she saw Ego and

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Super Ego walk into a bar, and our tender says, sorry,

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I'll need to see some id.

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Speaker 7: Love it.

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Speaker 10: Brian good, hey, everybody, and.

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Speaker 6: Our recently retired Crambone. As he gets older, he likes

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to think about all the people he lost along the way.

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He was a terrible tour guide, John Jelly John.

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Speaker 3: Hey, Brian, Hey, everybody. Yes, it was quite a profession

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there being a tour guide, of of course, good to.

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Speaker 6: Be here, Pop, and last but not least, the host

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of shaving Cream. She joined a condescending club. And the

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first rule of condescending club is probably just too complex

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for someone like you to understand, Barbara.

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Speaker 3: Ville, is what I say.

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Speaker 10: Absolutely, hey, everybody, Wow, that was great.

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Speaker 6: All right, So everybody's heard of Beethoven. Right, Ludwig Bond

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Beethoven lud Vega dog the dog right?

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Speaker 7: Yes, I met his brother years ago. I know I've

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mentioned this before.

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Speaker 9: Yeah, seriously, the dog the dog.

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Speaker 3: Can I ask a question about that dog? Did he

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roll over?

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Speaker 2: Oh?

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Speaker 11: Wow?

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Speaker 7: I was at a dog show in Connecticut many years ago,

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and I was actually there to see the chow chows,

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but I ended up talking to this really cute uh

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Saint Bernard. And it turned out that his handler told

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me that he was Beethoven's little brother, so it was

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really cute.

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Speaker 6: Mm hmm. I wonder how many other Saint Bernard owners

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have said the same thing.

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Speaker 4: No, no, let me tell you, Let me tell you.

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Speaker 7: Martha Stewart used to show her chows at that show,

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so it wouldn't surprise me.

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Speaker 6: That's how she wounds up in prison.

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Speaker 9: Right.

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Speaker 4: Chow chows dogs.

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Speaker 1: Only if you get caught, as in the.

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Speaker 4: One that was named Paupaw.

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Speaker 6: You know I got you?

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Speaker 7: Oh boy, all right, you can't take your guys anywhere.

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Speaker 6: You can take us everywhere. You just regret it later.

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That's all.

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Speaker 3: We're a tough crowd, what can I say.

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Speaker 6: That's why we're on zoom because we're not allowed to

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be in the same room together, right.

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Speaker 10: That never goes well?

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Speaker 6: No, no, So I thought I'd give a quick rundown,

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a quick bio on Beethoven, and then we'll hop in

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sound good. Yeah, everybody's heard of him, but people may

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not know the background, and maybe I'll get something wrong

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and I'm going to get a bunch of emails, which

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I'm good with that too. So he was born in

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Bond in Germany in December of seventeen seventy. His grandfather

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was a prominent musician and his role mind. His father

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was a mediocre alcoholic singer who auditioned for the Ramones,

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but he didn't make the cut.

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Speaker 9: He should have been a better alcoholic.

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Speaker 6: I think that was the part that was lacking. Yeah. Yeah.

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His mom was supposedly a complete sweetheart to everybody. So

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Ludwig got music lessons from his father, who literally beat

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music into him, as in like physically beat music intlums.

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So Beethoven, Ludwig the Son was a prodigy, either because

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of his father or in spite of him.

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Speaker 3: I will let you.

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Speaker 6: Pick up your arguments on that.

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Speaker 4: One, and that is probably yes, hm.

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Speaker 6: He excelled at music, but he did not excel in

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academics and dropped out of school at age ten to

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do music full time. There's a speculation of whether he

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crossed paths with Mozart or not. Mozart was older and

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lived in Vienna. Mozart died in seventeen ninety two, and

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Heyden was considered the best composer alive. So Beethoven and

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move to Vienna with plans to study under Hyden. He

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did study under Salieri and other composers at the time.

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These names might ring a bell, especially if you saw

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a movie amadaeis Yep. Yes, stuff we can dig into

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later on.

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Speaker 4: I loved that movie.

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Speaker 6: Yep, I haven't seen that in so long. I have

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to watch it again. So Beethoven hit the big time

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with his first symphony, titled Symphony Number One, which seems

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like there you go n C Major in eighteen hundred.

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As his career started to rise, his hearing started to fail. Unfortunately,

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it wasn't long before he couldn't make out words in

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a face to face conversation with people. He tried to

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hide it from the public.

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Speaker 3: He would later.

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Speaker 6: Resort to actually carrying notebooks to communicate and writing back

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and forth and a lot of those notebooks still exist.

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You can actually go read the conversations that Beethoven had

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with members of the public and friends and all that

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kind of stuff, which I think is awesome that somebody

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thought to hang on to them. He was painfully shy

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in real life, but he was also argumentative, a little cranky.

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I can kind of understand, losing your hearing and all that.

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Generally difficult little bit of a diva. And at the

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time he was considered kind of ugly. Believe it or not.

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He had some facial deformities and scars, probably from smallpox,

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which was very common at the time, and maybe some

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other maladies that we don't know about. But all that

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was left out of the portraits and the sculptures that

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we see now because they were filtering back then. It

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is nothing new. You see it now, you saw it

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back then. The more famous he got, the more complimentary

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his painting's got. You see, everybody knows the famous portrait

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with the wild hair brushback which we now considered, you know,

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artistic and all that. No, back then it was more

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you could probably call it more like BedHead woke up,

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just didn't care, Just stick your finger in an outlet,

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kind of hair style and all that. So filtering, Snapchat,

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all that, nothing new. It just took longer because you

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had to paint it as opposed to taken a pace.

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Beethoven died a worldwide celebrity, on March twenty sixth, eighteen

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twenty seven, at age fifty six, from liver cirrhosis. It's

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believed at this point that his deafness was a result

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of contracting typhus in seventeen ninety six. Typhus is a

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bacterial infection that starts with flu like symptoms and a

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rash and gets worse from there. Nowadays, it's treatable with antibiotics,

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which of course they didn't have back then. Not typhoid,

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it's typhus. They're two different things, not like typhoid, mary,

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two totally different things. He was also found to have

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a high level of lead when locks of his hair

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were tested much later on in life. Lead was used

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to both make drinking goblets that were in common use,

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and they added it to wine as a sweetener. It

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made cheap garbage wine. Yeah, right now, obviously they didn't

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know any better back then. But before we start going, oh,

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bah blah blah, We're sitting here sipping on our microplastics,

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and we know better, and we're still doing it.

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Speaker 7: I'm drinking out of a ceramic mug.

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Speaker 6: Yeah, you and me both, but you know we're all

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full of microplastics at this point. We're two steps away

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from being little robots. One of my favorite coaches from Beethoven,

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Here we go. Anyone who tells a lie has not

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a pure heart and cannot make good soup. Bam boom.

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If he had a microphone, he would have dropped it.

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Speaker 3: That's prophetic.

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Speaker 6: Yeah, I think he's right.

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Speaker 9: I got the T shirt and that says.

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Speaker 6: That as well. You should so. By forty he was

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completely deaf. And the question comes up, well, how can

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you write music when you're completely deaf? And the best

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answer is because he knew what he was doing. He

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understood music. He was a phenomenal music student. He knew

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how notes worked, he knew how chords worked. He just

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he knew. But he did commission a special piano that

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had quadruple strings in it, designed to be louder. Unfortunately,

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it didn't really work well for him. He would sometimes

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hold a pencil in his mouth and then touch the

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other end to the piano so he could feel the

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vibrations that way. He cut the legs off of another

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piano so it would sit flat on the floor and

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he would sit on the floor to play it so

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he could feel the vibrations through the floor. I'm sure

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his neighbors loved him. He apparently ruined a few pianos

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by banging on them so hard that they would just

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start to fall apart, which I don't think he can

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get much more rock and roll than that.

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Speaker 1: I was going to say he was a punk rocker

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before they did that with guitars.

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Speaker 4: He did it with piano.

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Speaker 6: Yeah, he just smashed it to the point where they

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would just fall apart. There are stories of teeth marks

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on some of his pianos. I think those are stories.

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Speaker 9: I don't think he actually was his teeth though, Well.

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Speaker 6: That could be. You know what if somebody tried to

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steal a composition and he had to you want to

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you want to steal this boom kind of little mob.

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I don't think he did that either, but I can't

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disprove it. Yeah, I think that the teeth marks a

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kind of more of a story than reality. But as

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he got older, as the hearing got worse. He could

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feel lower frequency vibrations better because they would make things vibrate.

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And you can see as his works progressed they shifted

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to the lower end of the spectrum. Longer notes, whole notes.

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Speaker 3: If you will.

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Speaker 6: That's whole with a W for those of you with

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a problem, And we're going to see some of that tonight. Now.

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He obviously influenced composers and writers and rock and roll

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much later on in history, which is why we're here

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discussing it tonight. I have a clip of an interview

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that Richie Blackmore from De Purple did. He's talking about

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Smoke on the Water and how he got the riff

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from Smoke on the Water from Beethoven. So let me

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play this clip for you.

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Speaker 12: It's playing false rigid false, which is going back to

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the medieval times. That's how they played a lot of

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short parts was parallel fourths. So now you have so

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I listened to love Wick, then Beethoven, bomb bom bom

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bom bom bom bom bomb, and I thought, play that backwards,

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put something to it, and you've got bomb bomb bom

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bom bomb. That's how I came up with it. Are

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you telling me yes, that the famous wreck is from Beto.

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It's an interpretation of inversion. You turn it back and

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play it back and forth. It's actually Beethoven's fifth So

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I owe him a lot of money.

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Speaker 6: I love that.

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Speaker 9: But but does his AMP go to eleven?

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Speaker 6: It's a very good question, I would think, so, I

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know pre dates it a little bit. You know, Beethoven's

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AMP did with the quad strings on that one piano

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that is the eighteen hundreds equivalent of going to eleven.

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Speaker 1: Yeah, yeah, the low techie techie.

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Speaker 6: Yeah, yep. So and before the emails come in, Richie

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Blackmore says inversion, and he used the term in version wrong.

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In Version is when you're talking about chords, which is

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a whole other thing. He meant backwards, playing it backwards,

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which the musical term is retrograde if you play something backwards.

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So there you go. I just want to get ahead

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of the curve on that one. Okay, should we hop in?

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Let's talk a little Beethoven and John.

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Speaker 3: You are going to lead us off, okay. You know, Brian,

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I got to tell you this.

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Speaker 8: This subject challenged me a little bit, and you know,

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and I know, I mean it's common knowledge. I think

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even somebody with my limited musical knowledge that Beethoven had

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a huge influence on rock music, a lot of classical

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music in heavily influenced rock music. All you have to do,

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and you a lot of you out there know, I

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am a Toll fan. I am a diehard Toll fan.

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And if you want to talk about influence, their influence

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from in my experience has been Mozart. Okay, Now, they

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was a little bit of Beethoven. I think there's a

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recording from the late like around six seventy six or

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seventy seven of them doing a Beethoven riff and a concert.

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Speaker 3: So I thought about I thought about Jethro Tol.

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Speaker 8: And then I thought, you know, let me take a

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step back and try something different. And I was and

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I found this band from Helsinki, Finland. It was a

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cello quartet and they were all classically trained cellists. So naturally,

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of course you think classically trained, they're going to be

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classical cellis right, Absolutely not. These guys are heavy metal

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and they recorded their own version of Beethoven's Fifth using

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the cello and there with their heavy metal kind of

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take on it. So without further ado, let's play.

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Speaker 13: It sat.

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Speaker 8: Hey, everybody that was Beethoven Smith read up and by Apocalyptica,

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a Finnish band that met in Helsinki in nineteen ninety

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three at university, and they released this in September of

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Our Excuse Me in July of twenty twenty two. This

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was on their EP Metal Classic Classic Metal, and one

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of their cellis Iika Tolpinin I don't think I pronounced

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that properly, was called Beethoven, one of the first metal heads.

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Another interesting thing about this particular album they also did

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their own take on Flight of the Bumblebee and Maurice

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Ravel's Ballero. So these guys are kind of intense cellis

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metal heads, and they take and remake classical music. And

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I gotta tell you, I always wonder what would people

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like Beethoven or Revel or what would they think of this?

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Speaker 3: I think they might like it, actually, but what do

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I know.

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Speaker 6: Yeah, some composers are We're very picky about playing it

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exactly is written. Others were looser with interpretations, and it's

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you know, you know, you never.

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Speaker 3: Know with some people.

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Speaker 8: I actually recently went on a kind of like a

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YouTube rabbit hole looking at classically trained musicians critiquing modern takes.

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Uh you know, you know, rock takes on classical music

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and classical instruments. And I saw some recent ones where

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you had some classically trained trained I don't know if

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I'm doing this properly.

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Speaker 3: The FluTEST floutest many say it.

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Speaker 8: And they were critiquing Jethro Tull and their musical style

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with the flute Ian Anderson, and that's just pretentious in

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my opinion, you know, but you know, everybody can help.

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Speaker 6: I love I love those videos. I know what you're

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talking about. Okay, yeah, yeah, it's just it's some of

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them are sick the butt and you just can't skip them.

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But other ones are they're you know.

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Speaker 3: Some of them are good and they get it.

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Speaker 8: Some of them you want to reach through the screen,

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and just an other ones that's like okay, you know

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they're explaining the flute or whatever.

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Speaker 6: Yeah, but you know what, in the rock world, you

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have Don Henley that does that, who you kind of

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want to reach through and smack, and you have other

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people that are just pretentious.

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Speaker 8: And I think if you're going to make yourself known,

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if you're going to make a name for yourself, you're

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going to get these kinds of critiques.

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Speaker 3: I think that's just the fact of life.

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Speaker 8: But uh, I just thought this was interesting because you

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took these these classically trained cellists, and one has to

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wonder when they first started with the cello and with

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classical music and with the you know, did they envision

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themselves going down this role, this, this, this way, this avenue,

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I might say, but I really enjoyed it, and I

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have to give the rest of the album a good listen.

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Speaker 3: So I hope you all enjoyed.

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Speaker 8: Beethoven's Fifth by Apocalyptica from Finland.

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Speaker 3: Nice.

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Speaker 6: All right, good lead off and Barber your.

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Speaker 1: Next Okay, Well for today's topic, my research led me

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to a band called Beethoven's Wig. The band was created

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in Los Angeles in two thousand and two by singer

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songwriter Richard Pearl Mutter and is an American vocal group

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that teaches children about classical music by adding fun lyrics

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to each piece they cover. The rest of the band

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members are Ellen Carlson, Jonathan Mack, Susan Boyd, John Joyce,

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Jennifer Barnes, and Michael Geiger. The band has recorded five albums,

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each of which has been Grammy nominated. In the category

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of Best Musical Album for Children. Founding member Pearl Mutter,

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having been a student of classical music and music composition,

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wanted to write lyrics to classical music. He came up

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with the phrase Beethoven's wig is very big, put to

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the tune of the allegro combrio of Beethoven's Fifth Symphony,

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and marveled how the words fit perfectly with the first

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eight notes and was the perfect symbol for classical music.

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From that same two thousand and two album sing Along

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Symphonies comes track number five, called Just for Elise, which

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put lyrics to Beethoven's classic for release. Let's pause now

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and listen.

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Speaker 14: Here's a short Beethoven piano piece. He wrote this piece

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just for release. It's all about a fella named Maurice

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who came from Greece with of aalase. Maurice loved Beethoven's

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piano piece. He loved this piece more than Elise, and

355
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nobody could keep it from Maurice. He fleeced Elise and

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took her piece. He did her wrong, He took her song.

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It's all he cared for all along.

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Speaker 6: And when Elisa that Maurice had.

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Speaker 14: Fleeced her piece, she called the police. They found the

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piece in the valise. They all went to the justice

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of the piece, who sent Maurice right back to Greece.

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It was all right to her delight. At least can

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play her piece all night. And if you hear Beethoven's

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piece played by your nephew or your niece. Nephew or

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niece performed this piece, please tell them to remember that

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this piece, this little piece is.

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Speaker 1: Furlase okay for Elise was one of Beethoven's most popular compositions.

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The original name was Bagatelle Number twenty five. Beethoven wrote

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it an a minor for solo piano. The piece was

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not published during Beethoven's lifetime, but discovered forty years after

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his death by Ludwig Knowl. It had been composed on

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April twenty seventh, eighteen ten, and not published until eighteen

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sixty seven. Now researchers have speculated about the identity of Elise,

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but have not reached any conclusions, only several suggestions. The

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most popular theory suggests that she was Teresa Malfatti von

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Roorenbach zu Desa, a friend and student of Beethoven. It

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is rumored that he proposed to her in eighteen ten,

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but she declined and married someone else. It has also

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been suggested that the title of the piece may have

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been transcribed incorrectly, and that the name should have read

381
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as Teres, but that's never been proven. And lastly, I

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added this at the last minute because I was very

383
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excited about this. Lastly, I wanted to add that this

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tune was a Jeopardy clue on Wednesday, January fourteenth.

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Speaker 6: Cool.

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00:27:01,400 --> 00:27:02,039
Speaker 10: That's great.

387
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Speaker 1: One of the odds that you're watching Jeopardy and hey,

388
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that's my song.

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Speaker 6: Yeah, that's great. Yeah, that became very popular after it

390
00:27:11,359 --> 00:27:14,039
was published. It's almost a shame it wasn't published during

391
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his lifetime.

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Speaker 1: Yeah, get the recognition that you know, he deserved.

393
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Speaker 4: While he was still alive.

394
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Speaker 6: He was still an uber celebrity at the time, so

395
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you can't feel that. Yeah, but it is a prime

396
00:27:26,319 --> 00:27:28,440
example of you know, at this point he was pretty

397
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much completely deaf, and how it shifted to the lower

398
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end of the spectrum. Those notes are at the lower

399
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end of the piano, and it's a standard for piano

400
00:27:37,279 --> 00:27:42,119
students for good reason. For good reason. Awesome, thank you, Barbara.

401
00:27:42,359 --> 00:27:43,839
Love that I never heard that before.

402
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Speaker 3: That was a lot of fun.

403
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Speaker 6: That was good.

404
00:27:46,039 --> 00:27:48,359
Speaker 1: I was actually really surprised when I found this band.

405
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Speaker 6: That was great, awesome. All right, we're gonna take a

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real quick break and we'll be back with more right

407
00:27:54,480 --> 00:27:56,720
after this. Hudson River Radio.

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Speaker 3: Your dog likes us.

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Speaker 7: This concludes the first part of this cassette.

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Speaker 6: Please turn the cassette over and begin again.

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Speaker 12: On side to.

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Speaker 10: This is Hudson River Radio dot Com.

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Speaker 6: Ah Way, and welcome back, Neil.

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Speaker 3: We're up to you.

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Speaker 6: What do you have for us?

416
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Speaker 9: My ode to Beethoven pun intended, as you'll see, is

417
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a little different in a few different ways, which should

418
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come as a surprise to no one, no one. Wendy

419
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Carlos Ay Wendy Carlos born Walter Carlos in nineteen thirty

420
00:28:47,720 --> 00:28:52,000
nine is an American musician and composer, best known for

421
00:28:52,039 --> 00:28:57,480
her work with electronic music and film scores. Now. In nine,

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00:28:57,599 --> 00:29:00,359
nineteen seventy nine, Carlos announced that she'd been living as

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a woman since nineteen sixty eight and had undergone gender

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00:29:03,359 --> 00:29:08,440
affirming surgery in nineteen seventy two, and she has since

425
00:29:08,480 --> 00:29:14,599
gone on to help raise public awareness about transgender issues. Now.

426
00:29:14,640 --> 00:29:18,880
She was a native of Rhode Island, and studied physics

427
00:29:18,920 --> 00:29:24,079
and music before moving to New York in nineteen sixty two.

428
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There she worked with electronic musicians and technicians such as

429
00:29:28,519 --> 00:29:33,519
Robert mog and helped to develop the Mogue synthesizer, the

430
00:29:33,519 --> 00:29:39,279
first commercially available keyboard synthesizer. Now Carlos first came to

431
00:29:39,359 --> 00:29:42,000
fame in nineteen sixty eight with her album of music

432
00:29:43,119 --> 00:29:49,000
by classical composer Johann Sebastian Bach. It's performed entirely on

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00:29:49,079 --> 00:29:53,359
the Moge synthesizer and aptly called Switched on Bach, and

434
00:29:53,400 --> 00:29:58,000
it helped popularize the instrument in the nineteen seventies. It

435
00:29:58,079 --> 00:30:02,000
also won her three Grammy Awards, and his success led

436
00:30:02,079 --> 00:30:06,240
her to work in film scores, the first being the

437
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Stanley Kubrick film A Clockwork Orange in nineteen seventy one.

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The film is based on a nineteen sixty two Anthony

439
00:30:15,400 --> 00:30:20,680
Burgess novel set in a dystopian future. The film's main

440
00:30:20,799 --> 00:30:25,759
character a charismatic but antisocial delinquent who leads a gang

441
00:30:25,799 --> 00:30:31,160
of thugs and whose main interest, besides committing vicious crimes,

442
00:30:31,559 --> 00:30:38,240
is listening to classical music, especially that of Beethoven. After

443
00:30:38,279 --> 00:30:41,480
being jailed for his violent crimes. A version therapy is

444
00:30:41,559 --> 00:30:44,839
used to rehabilitate him. He strapped to a chair with

445
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his eyes clamped open and forced to watch violent films,

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all accompanied by the music of his favorite composer, Ludwig

447
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von Beethoven. So here's Beethoven's ninth the fourth and final movement,

448
00:31:01,880 --> 00:31:06,160
commonly known as the Ode to Joy, performed by Wendy

449
00:31:06,200 --> 00:31:10,160
Carlos on the synthesizer from the soundtrack of the film

450
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A Clockwork Orange.

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Speaker 2: Steam.

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Speaker 9: And that was all done on a synthesizer, even even

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the vocal parts. You probably didn't understand the words because

454
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well it's in German. So But the interesting thing is

455
00:33:00,880 --> 00:33:04,799
nowadays recording is a lot simpler. People have recording studios

456
00:33:04,839 --> 00:33:08,440
in their bedrooms at this point. Back then not so easy.

457
00:33:08,640 --> 00:33:13,599
Each instrument and each sound had to be recorded individually

458
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on one track at a time to build the whole,

459
00:33:18,400 --> 00:33:22,519
you know, the whole thing. It was all held together

460
00:33:22,559 --> 00:33:27,279
by a click track so that he you know, that

461
00:33:27,400 --> 00:33:30,920
could keep track of where they were in the song's progress.

462
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But that was you know, taken out at the end.

463
00:33:33,279 --> 00:33:36,640
But each each instrument, each note, each every sound you hear,

464
00:33:36,839 --> 00:33:42,480
was put on individually and layered which pretty time consuming

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00:33:42,519 --> 00:33:44,440
and I think pretty cool.

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Speaker 6: Yeah, very cool.

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00:33:46,559 --> 00:33:49,960
Speaker 9: Anyway, Beethoven's Ninth Symphony was the first example of a

468
00:33:49,960 --> 00:33:55,440
major composer scoring vocals parts for a symphony, and it's

469
00:33:55,519 --> 00:33:59,119
regarded by many critics as one of the supreme achievements

470
00:33:59,200 --> 00:34:03,480
in musical history, and it's also one of the most

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frequently performed symphonies in the world. Wendy Carlos would go

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00:34:07,559 --> 00:34:11,960
on to score another Kubrick film, The Shining Here's Johnny

473
00:34:12,440 --> 00:34:16,639
in nineteen eighty and the Disney film Tron in nineteen

474
00:34:16,679 --> 00:34:21,960
eighty two. Now, for some reason, as of twenty twenty,

475
00:34:22,000 --> 00:34:24,880
many of Carlos's recordings are out of print and they've

476
00:34:25,039 --> 00:34:30,280
not been made available or licensed for digital distribution. I

477
00:34:30,320 --> 00:34:34,000
don't know why that would be. But Carlos is also

478
00:34:34,440 --> 00:34:39,719
an accomplished photographer, especially that of solar eclipses, and her

479
00:34:39,760 --> 00:34:42,880
work in that field has been published online by NASA.

480
00:34:43,079 --> 00:34:44,920
So multi talented.

481
00:34:45,239 --> 00:34:45,760
Speaker 4: Wow.

482
00:34:47,400 --> 00:34:50,320
Speaker 9: And finally, as of this taping, Wendy Carlos, at age

483
00:34:50,360 --> 00:34:53,119
eighty six, is still considered one of the most important

484
00:34:53,159 --> 00:34:57,199
composers living today. So there you have it.

485
00:34:57,320 --> 00:35:00,639
Speaker 7: Cool, very cool, impressive.

486
00:35:00,920 --> 00:35:02,679
Speaker 6: I don't know if you came across the story of

487
00:35:02,760 --> 00:35:08,039
when the actual symphony was premiered and Beethoven was conducting.

488
00:35:08,760 --> 00:35:11,320
He conducted himself even though he was completely deaf at

489
00:35:11,320 --> 00:35:14,599
this point. And side note, if you ever go see

490
00:35:14,599 --> 00:35:17,199
an orchestra, your rule of thumb is, never be the

491
00:35:17,199 --> 00:35:19,280
first person to clap, because you're going to clap in

492
00:35:19,320 --> 00:35:22,280
the wrong spot. Wait till someone who knows better claps,

493
00:35:22,320 --> 00:35:25,159
and then you clap later because you don't clap in

494
00:35:25,199 --> 00:35:28,599
between movements number one, someone always you always hear one

495
00:35:28,639 --> 00:35:33,960
stray and then somebody give us yeah, So never be

496
00:35:34,039 --> 00:35:37,920
the first to clap. So they performed it. Beethoven was conducting,

497
00:35:38,000 --> 00:35:40,599
and the conductor faces the orchestra back to the audience.

498
00:35:41,119 --> 00:35:43,800
They were done, and Beethoven stood there because he couldn't

499
00:35:43,800 --> 00:35:46,239
hear what was going on, and someone in the orchestra

500
00:35:46,280 --> 00:35:49,360
actually got up and turned him around to face the audience,

501
00:35:49,840 --> 00:35:52,280
and that's when he realized that everybody was just cheering

502
00:35:52,320 --> 00:35:55,000
and going the equivalent of nuts.

503
00:35:55,039 --> 00:35:58,719
Speaker 9: Back then, I'd forgotten that story. Yeah, yeah, yeah, that

504
00:35:58,800 --> 00:35:59,119
was true.

505
00:35:59,280 --> 00:36:01,800
Speaker 6: That's actually one of the story that he had no

506
00:36:01,880 --> 00:36:04,719
idea that people were uploading so much behind him until

507
00:36:04,760 --> 00:36:10,599
somebody turned him around. So very cool. All right, thanks Neil,

508
00:36:10,840 --> 00:36:13,320
and we're going on to Gail. Gail, what do you

509
00:36:13,360 --> 00:36:14,079
have for us?

510
00:36:14,400 --> 00:36:20,840
Speaker 7: These are hard acts to follow. This was an extremely

511
00:36:21,440 --> 00:36:23,719
challenging topic for me.

512
00:36:25,760 --> 00:36:26,119
Speaker 4: Wow.

513
00:36:26,679 --> 00:36:32,320
Speaker 7: But speaking of Ode to Joy, the song I chose

514
00:36:32,400 --> 00:36:37,880
by a band called Bright Eyes, who I've never heard

515
00:36:37,880 --> 00:36:43,519
of them before. Their song is road to Joy and

516
00:36:44,119 --> 00:36:50,199
it's the last song on their album, their sixth studio

517
00:36:50,320 --> 00:36:54,639
album called I'm Wide Awake It's Morning, and.

518
00:36:56,000 --> 00:36:59,440
Speaker 4: That line is the album title.

519
00:36:59,159 --> 00:37:03,559
Speaker 7: Is the first line of the song, which is road

520
00:37:03,760 --> 00:37:09,000
to Joy. It's kind of a weird song to me.

521
00:37:09,639 --> 00:37:14,480
It's got deep themes of existential anxiety.

522
00:37:14,719 --> 00:37:20,760
Speaker 4: It's like maybe pretty apropos for today's world.

523
00:37:21,000 --> 00:37:27,800
Speaker 7: And that contains an interpolation of Beethoven's Ode to Joy.

524
00:37:29,760 --> 00:37:29,960
Speaker 6: Now.

525
00:37:30,079 --> 00:37:36,480
Speaker 7: The band called Bright Eyes is American and they're from

526
00:37:38,639 --> 00:37:44,239
They're from the Great Northwest. Like I said, I I

527
00:37:44,280 --> 00:37:52,000
never heard of them. They're still active. Apparently they're from Nebraska,

528
00:37:52,079 --> 00:37:55,719
of all places. I didn't know there was an indie

529
00:37:55,840 --> 00:37:59,119
music world in Nebraska, but apparently there is.

530
00:38:00,239 --> 00:38:02,400
Speaker 4: So let's have a.

531
00:38:27,440 --> 00:38:32,440
Speaker 5: The son came up with no conclusions. Flower sleeping in

532
00:38:32,960 --> 00:38:38,079
their beds the city summer Tamori is coming I'm wide awake.

533
00:38:38,280 --> 00:38:39,159
Speaker 2: It's small.

534
00:38:42,519 --> 00:38:46,320
Speaker 5: I have my drugs, I have my woman to keep

535
00:38:46,320 --> 00:38:52,119
away my boneliness. My parents say, have their religion, but

536
00:38:52,320 --> 00:38:55,159
sleep in separate houses.

537
00:38:57,719 --> 00:39:00,519
Speaker 2: I read the body come out.

538
00:39:00,360 --> 00:39:07,840
Speaker 5: Of the paper, and now it's written all over my face.

539
00:39:10,599 --> 00:39:12,639
Speaker 2: No one ever plans.

540
00:39:12,239 --> 00:39:14,400
Speaker 11: To sleep out in the gutter.

541
00:39:17,199 --> 00:39:20,960
Speaker 15: Sometimes that's just the most come never place.

542
00:39:23,800 --> 00:39:29,079
Speaker 5: So I'm drinking, breathing, writing, singing. Every day I'm on

543
00:39:29,559 --> 00:39:33,639
the clock. My mind races when on my longings, but

544
00:39:33,840 --> 00:39:39,719
can't keep up with what I've got. So I hope

545
00:39:39,800 --> 00:39:44,840
I don't sound too ungrateful. Quick a story gave modern

546
00:39:45,159 --> 00:39:49,760
man tell of fun to talk to strangers. Machine guns,

547
00:39:49,800 --> 00:39:55,800
amper countra limbs. So when you're asked to fight a

548
00:39:56,000 --> 00:40:01,159
war that's over nothing, it's.

549
00:40:01,119 --> 00:40:04,360
Speaker 16: Best to join the side that's gonna win.

550
00:40:07,559 --> 00:40:11,320
Speaker 11: And know one. So this got started.

551
00:40:13,000 --> 00:40:18,480
Speaker 6: We're gonna make our goddamn certain how it's gonna mt Oh.

552
00:40:18,400 --> 00:40:20,840
Speaker 9: Yeah we will, Oh yeah we will.

553
00:40:45,920 --> 00:40:49,679
Speaker 5: Well I could have them a famous singer if I

554
00:40:49,880 --> 00:40:53,440
had someone else's voice. For failures.

555
00:40:53,639 --> 00:40:55,440
Speaker 2: Oh it sounded better.

556
00:40:55,800 --> 00:40:57,199
Speaker 5: Let's fuck get a voice.

557
00:40:57,960 --> 00:41:48,159
Speaker 11: I'm not.

558
00:41:44,920 --> 00:41:47,599
Speaker 7: That sounded so cuppy musically.

559
00:41:48,000 --> 00:41:52,880
Speaker 9: No more espresso for them, there's a lot of there's

560
00:41:52,920 --> 00:41:55,599
a lot of angst out there in Nebraska apparently, and.

561
00:41:55,840 --> 00:41:58,639
Speaker 4: Apparently a lot of joy apparently.

562
00:41:58,800 --> 00:42:00,719
Speaker 6: I guess that's the road, sadly.

563
00:42:01,519 --> 00:42:01,639
Speaker 11: Uh.

564
00:42:02,599 --> 00:42:08,400
Speaker 7: The band Bright Eyes consists of singer, songwriter and guitarist

565
00:42:08,559 --> 00:42:18,559
Connor Oberst, multi instrumentalist and producer Mike Mogis, arranger, composer,

566
00:42:18,719 --> 00:42:23,639
trumpet and piano player Nate Walcott, and a rotating lineup

567
00:42:23,679 --> 00:42:29,719
of collaborators drawn primarily from Omaha's indie music scene, of

568
00:42:29,760 --> 00:42:33,800
which I did not realize there was one, because one

569
00:42:33,880 --> 00:42:35,639
doesn't think.

570
00:42:35,559 --> 00:42:38,400
Speaker 9: Of Oh, I think we heard all of them right there.

571
00:42:41,880 --> 00:42:45,440
Speaker 7: When you hear the word Omaha, you don't think, oh,

572
00:42:45,840 --> 00:42:47,079
indie music scene.

573
00:42:48,920 --> 00:42:50,960
Speaker 10: Don't be a New York snob, now, Gail.

574
00:42:53,239 --> 00:42:56,000
Speaker 3: Maybe they're the Mormon indie music scene.

575
00:42:56,599 --> 00:43:01,480
Speaker 7: Not exactly. During the two thousand and four election season,

576
00:43:01,719 --> 00:43:04,840
Bright Eyes toured with Bruce Springsteen and R. E. M

577
00:43:05,119 --> 00:43:11,159
on the Vote for Change Tour, further pushing Bright Eyes

578
00:43:11,199 --> 00:43:14,800
into the public eye. Oberst sang numerous duets with the

579
00:43:14,960 --> 00:43:20,239
likes of Bruce Springsteen and Neil Young nice so that

580
00:43:20,400 --> 00:43:21,400
I thought was interesting.

581
00:43:21,440 --> 00:43:23,360
Speaker 6: They keep good company, yep.

582
00:43:23,639 --> 00:43:27,800
Speaker 4: Yeah, and that's all I got.

583
00:43:27,559 --> 00:43:30,840
Speaker 6: All right, very cool. Yeah, that's definitely a road to joy.

584
00:43:30,880 --> 00:43:33,679
Not you know, they hope, I hope they found it.

585
00:43:33,800 --> 00:43:35,079
I hope they settled down.

586
00:43:34,920 --> 00:43:35,360
Speaker 3: For a while.

587
00:43:35,840 --> 00:43:38,519
Speaker 9: I think there's there's a lot of potholes and bumps

588
00:43:38,519 --> 00:43:39,119
in that road.

589
00:43:40,719 --> 00:43:41,199
Speaker 1: I don't know.

590
00:43:41,320 --> 00:43:42,679
Speaker 7: I liked it.

591
00:43:42,679 --> 00:43:45,199
Speaker 10: Reminded me of something, but I couldn't put I wanted

592
00:43:45,239 --> 00:43:48,079
to say violent fans, but absolutely.

593
00:43:48,159 --> 00:43:50,400
Speaker 9: Oh I didn't. I didn't say I didn't like it either.

594
00:43:50,440 --> 00:43:54,559
I just it's it's a little wow. Yeah, you know,

595
00:43:55,679 --> 00:43:57,639
you can't just put it on and dance to it, though,

596
00:43:57,719 --> 00:43:59,960
you know, well, maybe you good.

597
00:43:59,760 --> 00:44:01,800
Speaker 10: But I think you ken a little moshing.

598
00:44:02,880 --> 00:44:03,199
Speaker 9: I don't know.

599
00:44:03,199 --> 00:44:05,880
Speaker 6: I think can you mosh in Nebraska because everybody's so

600
00:44:06,000 --> 00:44:06,559
spread out.

601
00:44:09,599 --> 00:44:12,440
Speaker 9: I guess if you take enough antidepressant drugs you get

602
00:44:12,440 --> 00:44:14,679
happy to it. But I work.

603
00:44:15,920 --> 00:44:17,280
Speaker 4: Yeah, it was interesting.

604
00:44:18,239 --> 00:44:18,639
Speaker 3: All right.

605
00:44:18,920 --> 00:44:21,000
Speaker 6: Uh, we're gonna take a second break, and we have

606
00:44:21,280 --> 00:44:22,679
two more selections coming.

607
00:44:22,559 --> 00:44:32,599
Speaker 17: Up, so stick around Hudson River Radio dot Com.

608
00:44:32,800 --> 00:44:37,599
Speaker 13: Hudson River Radio dot Com.

609
00:44:37,639 --> 00:44:40,239
Speaker 6: All right, we're up to Mercedes, who I would vote

610
00:44:40,280 --> 00:44:43,639
as the least likely crambone to ever have gone to

611
00:44:43,719 --> 00:44:45,119
see a symphony orchestra.

612
00:44:48,280 --> 00:44:58,599
Speaker 10: Yeah, ever, I don't think so. I mean, I've been

613
00:44:58,639 --> 00:45:02,679
to ballets where this live musicians. Okay, does that count

614
00:45:02,760 --> 00:45:03,400
for something?

615
00:45:03,840 --> 00:45:04,000
Speaker 5: No?

616
00:45:04,440 --> 00:45:10,159
Speaker 6: I mean it's absolutely worthwhile and highly recommended. But no, okay, fair,

617
00:45:10,320 --> 00:45:11,880
all right, we're going to work on that.

618
00:45:12,440 --> 00:45:17,360
Speaker 10: Well, that's why I picked the song. Proud Mary, So

619
00:45:17,519 --> 00:45:20,119
Brown Mary is a song written by John Fogerty of

620
00:45:20,199 --> 00:45:25,119
Creeden's Clearwater Revival, released in nineteen sixty nine. Fogerty said

621
00:45:25,199 --> 00:45:27,960
later said that it was his first really great song

622
00:45:28,079 --> 00:45:30,960
and he knew it right away. He wrote it after

623
00:45:30,960 --> 00:45:34,239
he was discharged from the National Guard. Ike and Tina

624
00:45:34,280 --> 00:45:37,079
Turner also had a top ten hit with a song

625
00:45:37,159 --> 00:45:40,880
and three years later in nineteen seventy one, which is

626
00:45:40,920 --> 00:45:45,159
probably the most popular version. After Tina Turner broke with

627
00:45:45,320 --> 00:45:47,559
Ike and went out on her own, she continued to

628
00:45:47,599 --> 00:45:51,320
do Proud Mary. I saw her in nineteen eighty four

629
00:45:51,559 --> 00:45:55,239
at Madison Square Garden, fourth row, and she performed it

630
00:45:55,320 --> 00:46:05,239
and it was dazzling and unforgettable and damn those legs amazing.

631
00:46:06,159 --> 00:46:08,679
So what does this have to do with Beethoven? Well,

632
00:46:08,719 --> 00:46:13,440
the opening chord progression was inspired by Beethoven's Fifth Symphony

633
00:46:13,599 --> 00:46:17,480
in C Minor. Like the symphony in C minor. The

634
00:46:17,519 --> 00:46:20,800
emphasis is on the first notes like da da da da,

635
00:46:22,519 --> 00:46:29,000
or descending by thirds. Is that right, Bryan? Okay? He

636
00:46:29,079 --> 00:46:32,760
thought that riff sounded something like a paddlewheel, but didn't

637
00:46:32,800 --> 00:46:35,440
have much else for the song, just that and the title.

638
00:46:36,280 --> 00:46:38,880
The phrase left a good job in the city came

639
00:46:38,920 --> 00:46:42,000
to him and then big wheel keep on turning. And

640
00:46:42,039 --> 00:46:44,559
then he realized that the song was not about a woman.

641
00:46:44,719 --> 00:46:47,360
It was the name of a ship. He had a

642
00:46:47,480 --> 00:46:50,599
very particular idea of how the backing vocals should be,

643
00:46:50,760 --> 00:46:57,320
and he was afraid the band would ruin it by singing.

644
00:46:58,079 --> 00:47:00,719
He wanted it to sound like a guy gospel group.

645
00:47:01,360 --> 00:47:04,840
Foggerty did all the vocals himself. At that point, the

646
00:47:04,880 --> 00:47:07,719
group is upset, but Fogerty laid down the law and

647
00:47:07,760 --> 00:47:10,000
told them he was taking charge and from then on

648
00:47:10,119 --> 00:47:12,719
they would sing back up on stage, but everything else

649
00:47:13,119 --> 00:47:16,239
would be his way. Later the band had to admit

650
00:47:16,280 --> 00:47:20,079
that it worked. Proud Mary reached number two and they

651
00:47:20,119 --> 00:47:22,320
were invited to play it on the Ed Sullivan Show,

652
00:47:22,880 --> 00:47:26,039
and after that everybody was playing it. Phil Spector produced

653
00:47:26,039 --> 00:47:31,719
a version, Solomon Burke sang it, Leonard Nimoy, Elvis and

654
00:47:32,280 --> 00:47:33,280
Brian Wilson.

655
00:47:33,800 --> 00:47:37,800
Speaker 1: Oh that's gonna be my earworm. Oh yeah, please please

656
00:47:38,000 --> 00:47:38,840
fix it for me.

657
00:47:39,960 --> 00:47:41,599
Speaker 4: Oh, thanks a lot, Mercedes.

658
00:47:43,480 --> 00:47:46,360
Speaker 10: He went right back to write, to work writing, and

659
00:47:46,400 --> 00:47:48,840
wanted each B side to be as strong as the

660
00:47:48,880 --> 00:47:51,000
A side, which maybe the reason they never had a

661
00:47:51,079 --> 00:47:54,679
number one song. Radio stations tended to play one side

662
00:47:54,719 --> 00:47:57,719
or the other, which should like split the popularity of

663
00:47:57,840 --> 00:48:02,920
the songs. So what is Proud Mary about?

664
00:48:03,800 --> 00:48:04,039
Speaker 4: Well?

665
00:48:04,639 --> 00:48:08,039
Speaker 10: This quote comes from John Fogerty and American Son by

666
00:48:08,119 --> 00:48:13,320
Thomas M. Kitts from twenty fifteen. Proud Mary's singer a

667
00:48:13,320 --> 00:48:18,880
low wage earner, meaning the vocalist who's singing.

668
00:48:18,480 --> 00:48:22,360
Speaker 6: It in the first person. Yes, yes, thank you protagonist.

669
00:48:22,639 --> 00:48:28,360
Speaker 10: Protagonist Yes, a low wage earner leaves what he considers

670
00:48:28,440 --> 00:48:31,639
a good job, which he might define as steady work,

671
00:48:31,719 --> 00:48:35,679
even though for long hours under a dictatoral boss. He

672
00:48:35,800 --> 00:48:38,920
decides to follow his impulse and imagination and hitches a

673
00:48:39,000 --> 00:48:41,599
ride on a riverboat queen, which I don't know what

674
00:48:41,679 --> 00:48:46,440
a queen, riverboat queen or all riverboats queens anybody know?

675
00:48:46,719 --> 00:48:51,880
I don't know, Bidding farewell to the city. Only when

676
00:48:51,880 --> 00:48:54,039
the boat pulls out does he see the good side

677
00:48:54,039 --> 00:48:57,360
of the city, which for him is one in the distance,

678
00:48:57,440 --> 00:49:00,440
far removed from his life. Down by the river and

679
00:49:00,559 --> 00:49:03,519
on the boat, the singer finds protection from the man

680
00:49:03,719 --> 00:49:07,599
and salvation from his working class pains in the nurturing

681
00:49:07,679 --> 00:49:11,360
spirit and generosity of simple people who are happy to

682
00:49:11,400 --> 00:49:14,960
give even if they have no money. The river in Fogerty,

683
00:49:15,199 --> 00:49:18,880
and traditionally in literature and song, is a place holding

684
00:49:18,920 --> 00:49:25,039
biblical and epical implications. Indeed, the river in Proud Mary

685
00:49:25,079 --> 00:49:28,840
offers not only escape but also rebirth to the singer.

686
00:49:30,559 --> 00:49:32,880
So let's do it.

687
00:49:39,679 --> 00:49:42,760
Speaker 3: Waking well, man not envy.

688
00:49:46,400 --> 00:49:52,360
Speaker 18: Speed, and when out away.

689
00:49:53,039 --> 00:50:05,000
Speaker 19: Bom go away, going in on the rail.

690
00:50:07,639 --> 00:50:12,400
Speaker 18: There's a lot of beads and milks want a lot

691
00:50:12,480 --> 00:50:14,400
of things down to New Holy.

692
00:50:15,639 --> 00:50:17,199
Speaker 11: But I never saw on.

693
00:50:17,199 --> 00:50:21,280
Speaker 16: The food side of the city till i's ride on.

694
00:50:21,400 --> 00:50:32,239
Speaker 18: The river both weeks befekee boat laden a mil keep board,

695
00:50:33,239 --> 00:51:14,440
go away, go on in on the rilboat.

696
00:51:14,719 --> 00:51:20,119
Speaker 11: No one rode rolling on the river.

697
00:51:34,760 --> 00:51:39,960
Speaker 18: You come down to the river if you're gonna by

698
00:51:40,119 --> 00:51:41,920
USand people who live.

699
00:51:42,760 --> 00:51:47,119
Speaker 16: You don't have to worry you have no money. People

700
00:51:47,119 --> 00:51:51,800
along the river have been a bill be we be

701
00:51:52,039 --> 00:51:56,159
bond god man be bon.

702
00:51:58,360 --> 00:52:24,039
Speaker 11: Do so.

703
00:52:24,280 --> 00:52:30,280
Speaker 10: Billboard described CCR's Proud Mary as a driving blues item

704
00:52:30,440 --> 00:52:33,679
with a strong beat, and cash Box described it as

705
00:52:33,840 --> 00:52:37,519
a steady moving, mid speed chunk of funk and rhythm

706
00:52:37,719 --> 00:52:41,320
that will make itself felt in both pop and underground spots.

707
00:52:42,079 --> 00:52:45,400
As for the Turner version, Billboard stated that John Fogerty

708
00:52:45,519 --> 00:52:49,239
version classic gets a powerhouse treatment with the Turner originality

709
00:52:49,400 --> 00:52:52,599
and drive to put it back up the hot one

710
00:52:52,719 --> 00:52:57,519
hundred and Soul Charts Dynamite entry for their rendition, I

711
00:52:57,679 --> 00:53:00,320
Contain a Turner won a Grammy Award for Best R

712
00:53:00,360 --> 00:53:03,880
and B Vocal Performance by a Group in nineteen seventy two,

713
00:53:04,079 --> 00:53:11,800
and also Creten's clear Water received a I'm Sorry. Ike

714
00:53:11,880 --> 00:53:16,880
and Tina their version and Ceciora's version received Grammy Hall

715
00:53:16,920 --> 00:53:20,039
of Fame awards in nineteen ninety eight and two thousand

716
00:53:20,079 --> 00:53:24,599
and three. Proud Mary ranked at number one fifty five

717
00:53:24,760 --> 00:53:28,079
on Rolling Stone's two thousand and four list of the

718
00:53:28,400 --> 00:53:31,880
five hundred Greatest Songs of All Time. And I have

719
00:53:32,079 --> 00:53:36,679
to mention that growing up in a small town in

720
00:53:36,760 --> 00:53:40,760
New Jersey, we had Joe's Subs, which had a jukebox,

721
00:53:41,559 --> 00:53:44,440
and not only did me and a couple of friends

722
00:53:44,599 --> 00:53:46,639
know when the guy was going to come in and

723
00:53:47,000 --> 00:53:49,840
change the songs on the jukebox. We would sit in

724
00:53:49,960 --> 00:53:52,840
the back booth and wait for him, and when he

725
00:53:52,880 --> 00:53:55,599
would come in, we would tell him what songs to

726
00:53:55,719 --> 00:54:00,639
take off that we didn't like that people and it

727
00:54:00,760 --> 00:54:07,599
made us mad. Also, it was three songs for a quarter, so.

728
00:54:09,239 --> 00:54:10,039
Speaker 4: We picked.

729
00:54:10,559 --> 00:54:13,320
Speaker 10: We always picked the three longest songs to play and

730
00:54:14,280 --> 00:54:18,599
proud marry the Icontina Turner one was one of the

731
00:54:18,679 --> 00:54:21,280
longest ones, and the other one was if six Were

732
00:54:21,360 --> 00:54:26,320
nine by Jimi Hendrix, and the third one was like a.

733
00:54:26,360 --> 00:54:28,039
Speaker 6: Free for all nice.

734
00:54:29,000 --> 00:54:30,400
Speaker 3: I love that song.

735
00:54:30,920 --> 00:54:33,679
Speaker 6: I would have to respectfully argue. As much as the

736
00:54:34,119 --> 00:54:36,840
Icontina version is phenomenal, I don't know if it's the

737
00:54:36,920 --> 00:54:39,679
most popular, I would.

738
00:54:41,480 --> 00:54:43,599
Speaker 10: The most known, I don't think so.

739
00:54:43,960 --> 00:54:47,760
Speaker 9: I remember hearing the CCR version, you know, on the

740
00:54:47,840 --> 00:54:53,280
AM top forty stations, Yes, all the time, and not

741
00:54:53,719 --> 00:54:57,159
not so much the iking Tina turning again. I'm not

742
00:54:57,239 --> 00:55:00,840
gonna she can't really compare the They're almost like two

743
00:55:00,840 --> 00:55:03,320
different songs and that's the same, yeah, the same thing,

744
00:55:03,360 --> 00:55:04,400
a whole different treatment.

745
00:55:04,880 --> 00:55:10,079
Speaker 6: I've seen John Fogerty live many, many times and damn

746
00:55:10,159 --> 00:55:15,119
those legs. He's eighty and he's still going, so I

747
00:55:15,280 --> 00:55:16,079
can knock.

748
00:55:15,880 --> 00:55:19,440
Speaker 4: It, okay, fair, Yeah, it's a tough one.

749
00:55:19,480 --> 00:55:20,159
Speaker 6: It's a tough one.

750
00:55:20,440 --> 00:55:20,599
Speaker 14: You know.

751
00:55:20,719 --> 00:55:23,360
Speaker 6: The story, like you talked about his background vocals and

752
00:55:23,400 --> 00:55:25,760
all that kind of stuff, and it's easy to kind

753
00:55:25,800 --> 00:55:28,840
of paint him as the domineering, controlling persion and CCR,

754
00:55:28,920 --> 00:55:33,639
which he was. But the long story short getting up

755
00:55:33,679 --> 00:55:36,440
to that point was that he would always say bring songs.

756
00:55:36,480 --> 00:55:39,719
He would tell everybody. Everybody wanted to participate, everybody wanted to,

757
00:55:40,559 --> 00:55:42,400
you know, write stuff and all, and he would say,

758
00:55:42,400 --> 00:55:44,159
bring it, bring it, bring it, And nobody ever brought

759
00:55:44,199 --> 00:55:46,920
anything except him. And it got to the point where

760
00:55:47,679 --> 00:55:51,079
if you ain't pooping, you ain't sitting on the pot anymore.

761
00:55:51,239 --> 00:55:54,000
So he stepped in and did the job, and he.

762
00:55:54,079 --> 00:55:56,480
Speaker 10: Said, nobody bring any more songs from now on.

763
00:55:57,599 --> 00:55:59,360
Speaker 6: Really no one brought any anyway.

764
00:55:59,480 --> 00:56:03,599
Speaker 9: So well as you said that there was there was

765
00:56:03,679 --> 00:56:06,800
no love loss between Fogerty and the rest of the band,

766
00:56:06,920 --> 00:56:09,199
you know, and particularly his own brother.

767
00:56:09,719 --> 00:56:14,840
Speaker 10: So I'm sorry who was described in one article that

768
00:56:14,960 --> 00:56:17,760
I read who was the older and more handsome one.

769
00:56:19,880 --> 00:56:24,559
Speaker 9: Okay, that's subjective. I suppose.

770
00:56:24,719 --> 00:56:26,920
Speaker 6: Yeah, well he did a lot of complaining and not

771
00:56:26,960 --> 00:56:29,519
a lot of producing, so it's kind of you know,

772
00:56:30,840 --> 00:56:34,039
I have obviously picked sides for you know where I

773
00:56:34,159 --> 00:56:34,880
land on that one.

774
00:56:35,360 --> 00:56:40,159
Speaker 9: Well again, he uh, John Fogerty took charge because you

775
00:56:40,239 --> 00:56:43,760
know what somebody had to. Yeah, somebody had to. And

776
00:56:44,360 --> 00:56:48,000
as far as singing all the back backup vocals to himself,

777
00:56:48,239 --> 00:56:51,400
that is not an uncommon practice. In fact, it makes

778
00:56:51,440 --> 00:56:55,239
it sound better if it's the same voice blending with itself,

779
00:56:55,519 --> 00:56:57,760
you know, if you can multi track it. But you

780
00:56:57,920 --> 00:57:02,760
can now, you know, and could then easily it sounds

781
00:57:02,960 --> 00:57:07,280
a lot better. That's unless you've got like, you know,

782
00:57:08,599 --> 00:57:10,800
you know, two or three other singers that are just

783
00:57:10,880 --> 00:57:14,880
phenomenal too that can that can do that. I mean,

784
00:57:15,039 --> 00:57:17,440
but not many could. So I think he made the

785
00:57:17,519 --> 00:57:20,599
right choice. And and I'm sure that if they got

786
00:57:20,679 --> 00:57:23,559
mad at him, you know, they weren't mad when they

787
00:57:23,599 --> 00:57:25,320
went to the bank and cash checks.

788
00:57:25,920 --> 00:57:27,719
Speaker 10: He just wanted the best for the band.

789
00:57:28,000 --> 00:57:30,199
Speaker 6: Yeah, well, he knew what it's his song, and he

790
00:57:30,280 --> 00:57:32,440
knew what he wanted it to sound like. You know,

791
00:57:32,639 --> 00:57:35,199
other songwriters are different. Everybody gets together and I have

792
00:57:35,360 --> 00:57:38,320
this rough idea, let's flesh it out, and everybody kicks

793
00:57:38,400 --> 00:57:41,119
in ideas, but he kind of came to the table

794
00:57:41,199 --> 00:57:42,960
with a written song, knowing what he wanted it to

795
00:57:43,000 --> 00:57:45,920
sound like. And you know, it's gotten more complex when

796
00:57:45,960 --> 00:57:48,239
you see him now, his band, you know, his two

797
00:57:48,280 --> 00:57:50,760
sons are in the band now, and the song has

798
00:57:50,760 --> 00:57:53,320
gotten more complex, and I think better when you hear

799
00:57:53,360 --> 00:57:56,440
it now. It's just it's different. He kind of you know,

800
00:57:56,760 --> 00:58:00,960
it grew as he did CCRK, very simple, and it

801
00:58:01,079 --> 00:58:03,000
just kind of got more complex and more interesting as

802
00:58:03,039 --> 00:58:03,440
time went on.

803
00:58:03,559 --> 00:58:04,679
Speaker 4: So I'm clear.

804
00:58:05,400 --> 00:58:06,960
Speaker 10: I'm team Tina.

805
00:58:07,760 --> 00:58:10,679
Speaker 3: So I remember seeing it at all.

806
00:58:10,880 --> 00:58:12,920
Speaker 6: I think remakes are fantastic.

807
00:58:13,480 --> 00:58:17,039
Speaker 9: I remember seeing icing Tina do it. I think it

808
00:58:17,159 --> 00:58:20,400
was in the film Gimme Shelter, when the Rolling Stones

809
00:58:20,679 --> 00:58:27,280
film of their their nineteen sixty nine tour of America,

810
00:58:27,400 --> 00:58:31,400
which you know culminated at Altamont, of course, but the

811
00:58:31,519 --> 00:58:36,199
bulk of the live stuff was recorded at Brian's favorite,

812
00:58:37,079 --> 00:58:41,519
Madison's Quick Garden, and that's where I can Tina Turner

813
00:58:41,559 --> 00:58:43,920
with the opening act, and they featured them in a

814
00:58:43,960 --> 00:58:46,920
couple of songs. And I believe if my memory is

815
00:58:47,280 --> 00:58:49,880
you know, you know, I've seen the film since, but

816
00:58:50,559 --> 00:58:53,280
I saw it probably when it came out in like

817
00:58:53,400 --> 00:58:57,320
nineteen seventy or so that that was included there too,

818
00:58:57,480 --> 00:59:01,519
and it was just you know, the whole you know,

819
00:59:01,639 --> 00:59:04,440
nice and easy and then nice and rough, you know,

820
00:59:04,760 --> 00:59:09,440
was and oh yeah, they you know, they almost stole

821
00:59:09,519 --> 00:59:11,400
the show. Let's say, let's face it, you don't steal

822
00:59:11,480 --> 00:59:16,440
the show from the Rolling Stones, nobody does. But they

823
00:59:16,519 --> 00:59:17,079
came close.

824
00:59:17,480 --> 00:59:21,440
Speaker 6: So yeah, that's awesome. Cool, all right, well, thank you.

825
00:59:21,679 --> 00:59:24,599
One of my favorites, so that one's good with me.

826
00:59:25,960 --> 00:59:28,639
I went with a sixties group called the Shangri Laws.

827
00:59:29,880 --> 00:59:32,280
They were an American girl group that formed in nineteen

828
00:59:32,360 --> 00:59:35,360
sixty three at Andrew Jackson High School in Queens, New York.

829
00:59:36,039 --> 00:59:39,559
There were four members, two sets of sisters, Mary Weiss

830
00:59:39,760 --> 00:59:44,440
and Elizabeth Betty Weiss, and twins Marguerite, Marge Ganser and

831
00:59:45,119 --> 00:59:48,880
Maryanne Ganser. They took their name from a local restaurant,

832
00:59:49,119 --> 00:59:53,320
Shangri Law, which awesome, good advertising for that restaurant. Don't

833
00:59:53,320 --> 00:59:56,519
know if they're still there. They performed locally in school

834
00:59:56,559 --> 00:59:58,519
and all that. They got picked up for a record deal.

835
00:59:58,559 --> 01:00:02,000
Their first hit was tie I'll Remember with the stupid

836
01:00:02,039 --> 01:00:06,360
parentheses Walking in the sand I Hate Stupid Parentheses, that

837
01:00:06,519 --> 01:00:09,679
hit number five in nineteen sixty four, up against the

838
01:00:09,760 --> 01:00:13,360
Beatles and the Stones. They still hit number five with

839
01:00:13,480 --> 01:00:18,679
their first single, That's Pretty Good. An unknown studio musician

840
01:00:18,800 --> 01:00:22,239
played piano on the demo for that song. That unknown

841
01:00:22,440 --> 01:00:25,880
piano player is named Billy Joel, who I think went

842
01:00:25,960 --> 01:00:28,960
on to other things. He may have another hit or

843
01:00:29,039 --> 01:00:32,239
too under his belt. I think he did all right.

844
01:00:32,280 --> 01:00:34,199
I think I don't know. I'll have to look into

845
01:00:34,280 --> 01:00:37,480
that one. Their next single was their biggest, the number

846
01:00:37,519 --> 01:00:40,400
one hit Leader of the Pack, which I think everybody's heard.

847
01:00:40,679 --> 01:00:43,159
I don't think we need to go into that one.

848
01:00:43,800 --> 01:00:45,039
Speaker 1: Does she really go now?

849
01:00:45,119 --> 01:00:46,079
Speaker 9: With me? She is?

850
01:00:48,280 --> 01:00:49,719
Speaker 10: Well, there she is, let's ask her.

851
01:00:52,840 --> 01:00:56,519
Speaker 6: They started performing with the Beatles and the Rolling Stones

852
01:00:56,840 --> 01:01:00,199
and James Brown, who was surprised to see that the

853
01:01:00,280 --> 01:01:03,199
girls were white. He thought they were black from the

854
01:01:03,239 --> 01:01:06,920
way that they sounded, and in an interview James Brown said.

855
01:01:13,320 --> 01:01:14,079
Speaker 4: As one does.

856
01:01:15,280 --> 01:01:18,880
Speaker 6: They supposedly developed a tough girl persona being from Queens,

857
01:01:18,960 --> 01:01:21,800
New York, which they said helped keep away the creeps.

858
01:01:22,719 --> 01:01:23,000
Speaker 9: Love it.

859
01:01:23,719 --> 01:01:25,880
Speaker 6: They had a continuous string of hits and a lot

860
01:01:25,960 --> 01:01:28,519
of touring up until nineteen sixty eight when things took

861
01:01:28,559 --> 01:01:29,280
a turn and the.

862
01:01:29,320 --> 01:01:30,039
Speaker 3: Group broke up.

863
01:01:31,079 --> 01:01:34,679
Speaker 6: Mary Weiss went into the architecture and interior design business.

864
01:01:35,000 --> 01:01:38,360
She later did a record. She recorded an album of

865
01:01:38,400 --> 01:01:41,679
solo material in two thousand and seven titled Dangerous Game,

866
01:01:42,280 --> 01:01:44,280
but that was it with regards to music from the

867
01:01:44,360 --> 01:01:46,920
Shangri Las many years later two thousand and seven, and

868
01:01:47,719 --> 01:01:50,320
she would perform every once in a while, but kind

869
01:01:50,360 --> 01:01:53,079
of left the music business. She died in twenty twenty

870
01:01:53,119 --> 01:01:57,559
four at age seventy five from copd. Her sister, Betty

871
01:01:57,599 --> 01:01:59,119
Weiss was the only one to go on and have

872
01:01:59,199 --> 01:02:01,320
a family, have a kid. She went on to different

873
01:02:01,400 --> 01:02:04,000
jobs and she currently lives on Long Island and seems

874
01:02:04,039 --> 01:02:06,719
to lead a very quiet life. Not that a Shangri

875
01:02:06,800 --> 01:02:09,719
La would get mobbed walking down the street, but kind

876
01:02:09,719 --> 01:02:12,639
of curious as to what she's up to. Marge Ganzer

877
01:02:12,760 --> 01:02:15,360
went back to school, got married, worked for the phone

878
01:02:15,400 --> 01:02:18,480
company on Long Island. I wonder how many calls she dropped.

879
01:02:18,639 --> 01:02:21,719
She died of breast cancer in nineteen ninety eight at

880
01:02:21,800 --> 01:02:25,679
age forty eight, which kind of sucks, and Marianne Ganzer

881
01:02:25,800 --> 01:02:29,719
started having problems with drugs and alcohol as their popularity waned.

882
01:02:30,239 --> 01:02:34,039
She unfortunately died of an opiate overdose in nineteen seventy

883
01:02:34,079 --> 01:02:37,760
at age twenty two. Ooh yeah, that was pretty rough.

884
01:02:39,000 --> 01:02:41,480
The song we're going to hear is called Past, Present,

885
01:02:41,559 --> 01:02:46,000
and Future. It's a spoken word song done over Moonlight Sonata.

886
01:02:46,800 --> 01:02:50,159
Beethoven wrote Moonlight Sonata in eighteen oh two and dedicated

887
01:02:50,199 --> 01:02:52,800
it to one of his students who was a countess,

888
01:02:53,400 --> 01:02:57,480
as in Dala Dala y'all. I wonder why it was

889
01:02:57,559 --> 01:03:01,239
originally named Piano Sonata number four, but the name Moonlight

890
01:03:01,320 --> 01:03:04,320
Sonata was suggested by a poet in eighteen thirty two

891
01:03:04,559 --> 01:03:07,199
after Beethoven's death, and the new title just caught on.

892
01:03:08,000 --> 01:03:11,400
The piece immediately became popular after it was published, and

893
01:03:11,559 --> 01:03:14,000
again at this time it was sheet music, so they

894
01:03:14,000 --> 01:03:16,039
would print it and people would buy the sheet music.

895
01:03:16,719 --> 01:03:20,360
And it's another great example of after he lost his hearing,

896
01:03:20,480 --> 01:03:24,280
how his pieces shifted down to the lower end of

897
01:03:24,320 --> 01:03:27,719
the spectrum on the piano. So here we go, past,

898
01:03:27,760 --> 01:03:29,480
present and future by the shangri la.

899
01:03:31,079 --> 01:03:33,800
Speaker 2: Past past.

900
01:03:35,159 --> 01:03:38,599
Speaker 15: Well, now let me tell you about the past. The

901
01:03:38,719 --> 01:03:45,480
past is filled with silent joys and broken toys, laughing

902
01:03:45,599 --> 01:03:50,719
girls and teasing boys. Z I ever in love.

903
01:03:52,840 --> 01:03:53,719
Speaker 2: I called it love.

904
01:03:55,320 --> 01:03:57,639
Speaker 15: I mean it felt like love.

905
01:04:00,039 --> 01:04:01,280
Speaker 2: There were moments when.

906
01:04:03,119 --> 01:04:06,320
Speaker 15: Well, there were moments when.

907
01:04:10,400 --> 01:04:10,800
Speaker 2: Present.

908
01:04:15,360 --> 01:04:16,000
Speaker 9: Go out with you?

909
01:04:18,280 --> 01:04:18,639
Speaker 15: Why not.

910
01:04:22,480 --> 01:04:23,480
Speaker 7: Do I like to dance?

911
01:04:24,880 --> 01:04:32,199
Speaker 15: Of course, take a walk along the beach tonight, I'd

912
01:04:32,280 --> 01:04:39,639
love to. Don't try to touch me. Don't try to

913
01:04:39,760 --> 01:04:52,119
touch me, because that will never happen again. Shall we dance.

914
01:05:04,800 --> 01:05:05,440
Speaker 11: The future?

915
01:05:06,360 --> 01:05:15,119
Speaker 15: Tomorrow? Well, tomorrow's a long way off. Maybe someday I'll

916
01:05:15,159 --> 01:05:20,719
have somebody's hand, Maybe somewhere someone will understand.

917
01:05:23,320 --> 01:05:23,559
Speaker 6: You know.

918
01:05:24,320 --> 01:05:28,800
Speaker 15: I used to sing a tisket a tasket, a green

919
01:05:28,840 --> 01:05:32,639
and yellow basket. I'm all packed up and I'm on

920
01:05:32,840 --> 01:05:37,880
my way, and I'm gonna fall in love. But at

921
01:05:37,960 --> 01:05:44,039
the moment it doesn't look good. At the moment, it

922
01:05:44,119 --> 01:05:51,960
will never happen again. I don't think it will ever

923
01:05:53,320 --> 01:05:55,239
happen again.

924
01:06:01,119 --> 01:06:02,360
Speaker 3: Nice, uplifting little too.

925
01:06:03,960 --> 01:06:06,039
Speaker 10: I had the vinyl of this. I used to always

926
01:06:06,079 --> 01:06:06,880
skip that song.

927
01:06:07,119 --> 01:06:10,880
Speaker 6: Really yeah, it's kind of a downer compared to their

928
01:06:10,960 --> 01:06:13,840
other material, But it was well done, and it came

929
01:06:13,920 --> 01:06:15,840
up while it was playing. That was not Billy Joel

930
01:06:15,840 --> 01:06:17,639
playing the piano on that. He did the demo when

931
01:06:17,679 --> 01:06:19,760
they were putting it together, and he didn't play the

932
01:06:19,880 --> 01:06:23,920
actual recording that was released on the album. So there

933
01:06:24,000 --> 01:06:27,880
you go another. Yeah, Moonlight's Not is another very common

934
01:06:28,079 --> 01:06:30,960
student piece that kids learn again with good reason. You know,

935
01:06:31,159 --> 01:06:35,199
it's such a cool tune in my opinion, can I say?

936
01:06:36,800 --> 01:06:36,840
Speaker 7: So?

937
01:06:36,960 --> 01:06:38,880
Speaker 6: There, that's it. We made it to the end, a

938
01:06:38,920 --> 01:06:40,800
whole lot of Beethoven, a whole lot of culture. We

939
01:06:40,920 --> 01:06:46,199
learned something and everybody survived. So the next step is

940
01:06:46,239 --> 01:06:48,440
to get Mercedes to come see a symphony.

941
01:06:50,480 --> 01:06:58,440
Speaker 9: Okay, we'll make it happen. I saw a symphony one

942
01:06:58,519 --> 01:07:02,800
set at Carnegie Hall. But it was it wasn't. It

943
01:07:02,960 --> 01:07:07,079
wasn't Johann Sebastian Bach. It was p d Q Bock.

944
01:07:07,360 --> 01:07:09,679
Speaker 3: Oh my god, Yeah, that's awesome.

945
01:07:10,400 --> 01:07:10,719
Speaker 9: I did.

946
01:07:11,480 --> 01:07:13,320
Speaker 6: Okay, you want to explain.

947
01:07:14,599 --> 01:07:18,599
Speaker 9: Oh yeah, it's well, this is more in Barber's territory.

948
01:07:19,000 --> 01:07:22,000
It's a parody they do, you know, Instead of the

949
01:07:22,039 --> 01:07:26,960
four seasons, it was the four seasonings. So and it's

950
01:07:27,000 --> 01:07:28,880
all you know, and it's all.

951
01:07:30,519 --> 01:07:34,639
Speaker 6: P d Q back was he was a professor Peter Shiceley,

952
01:07:35,280 --> 01:07:39,159
Peter pass away not that long ago. But he he

953
01:07:39,480 --> 01:07:42,480
would do some amazing stuff. He would take two symphonies

954
01:07:42,519 --> 01:07:44,920
and put him on top of each other and make

955
01:07:45,000 --> 01:07:48,360
it work somehow. So I mean it's total nerd stuff,

956
01:07:48,440 --> 01:07:49,079
I will admit.

957
01:07:49,760 --> 01:07:51,800
Speaker 9: But well, what what what happened was a friend of

958
01:07:51,880 --> 01:07:54,360
mine was actually singing in in the you know, in

959
01:07:54,440 --> 01:07:57,360
the in the chorus in the back, you know, and

960
01:07:58,760 --> 01:08:01,679
so I went, you know, and and actually got afterwards,

961
01:08:01,719 --> 01:08:05,199
got to meet Chicile and you know, got his autograph

962
01:08:05,280 --> 01:08:05,599
and stuff.

963
01:08:05,800 --> 01:08:06,079
Speaker 3: Nice.

964
01:08:06,480 --> 01:08:06,719
Speaker 4: Nice.

965
01:08:07,039 --> 01:08:09,559
Speaker 6: I do have a bunch of the CDs downstairs, I

966
01:08:09,639 --> 01:08:10,480
have to admit.

967
01:08:10,360 --> 01:08:15,119
Speaker 9: But that that that's about aside from seeing you Brian

968
01:08:15,199 --> 01:08:16,039
play in the orchestra.

969
01:08:16,159 --> 01:08:19,279
Speaker 6: That that that's my I remember you got Well we'll

970
01:08:19,279 --> 01:08:20,319
come back to that in a second.

971
01:08:20,359 --> 01:08:23,119
Speaker 9: But I saw the I saw the Electric Light Orchestra.

972
01:08:23,239 --> 01:08:25,239
But that's not quite the different too.

973
01:08:25,439 --> 01:08:27,800
Speaker 6: Yeah, Now, Chicile PDQ Buck they did a lot of

974
01:08:27,800 --> 01:08:30,520
their recording it Sony Purchase across the river from us,

975
01:08:30,600 --> 01:08:32,840
not that far, so they did it. They did it

976
01:08:32,920 --> 01:08:33,479
pretty locally.

977
01:08:33,560 --> 01:08:35,640
Speaker 9: Yeah. That may have been when they rehearsed, you know,

978
01:08:35,680 --> 01:08:37,159
because I knew, you know, I was aware of the

979
01:08:37,199 --> 01:08:37,920
whole thing going on.

980
01:08:38,359 --> 01:08:40,800
Speaker 6: Yeah, but it's pretty funny and they do a lot

981
01:08:40,840 --> 01:08:42,520
of funny things like sound effects and all that.

982
01:08:42,760 --> 01:08:44,800
Speaker 9: So yeah, it was almost like, yeah, like a Spike

983
01:08:44,920 --> 01:08:45,880
Jones for classical.

984
01:08:47,279 --> 01:08:48,960
Speaker 6: I was just going to say that, and he would

985
01:08:49,000 --> 01:08:51,359
get big names coming out, like it's ot Pearlman would

986
01:08:51,399 --> 01:08:53,199
come out and play a solo, so then Chicily would

987
01:08:53,199 --> 01:08:55,279
sit down to play with him, but hold the bow

988
01:08:55,359 --> 01:08:57,039
in the wrong hand and hold the violin and move.

989
01:08:57,000 --> 01:08:57,800
Speaker 3: The violin and stead.

990
01:08:59,319 --> 01:09:01,079
Speaker 1: I've seen on YouTube.

991
01:09:01,199 --> 01:09:04,439
Speaker 6: Yeah, it's it's pretty funny stuff. Yeah, I remember you

992
01:09:04,560 --> 01:09:06,720
came out to see one of the symphonies you want

993
01:09:06,760 --> 01:09:09,159
a bunch of the crambones, and you guys came on

994
01:09:09,239 --> 01:09:12,399
a Tchaikowsky night, which even the orchestra gets a little

995
01:09:12,399 --> 01:09:14,840
sick of Tchaikowski because my got it goes on forever,

996
01:09:15,840 --> 01:09:18,079
and uh, I appreciate you coming, but I think you

997
01:09:18,159 --> 01:09:22,720
got scared away for a little while because yeah, it

998
01:09:22,800 --> 01:09:24,760
could go on for a good forty five minutes, and

999
01:09:24,960 --> 01:09:29,119
I yeah, even members of the orchestra get a little fatigued.

1000
01:09:29,479 --> 01:09:33,399
You'll often see like a movement of a Tchaikowsky symphony

1001
01:09:33,439 --> 01:09:35,720
instead of all of them, and we did all of them.

1002
01:09:35,880 --> 01:09:38,439
So we'll have to get you back. We'll get Mercedes

1003
01:09:38,479 --> 01:09:41,039
to come when it's not a Tchaikowsky night because it's

1004
01:09:41,079 --> 01:09:42,159
a lot to absorb.

1005
01:09:42,520 --> 01:09:45,000
Speaker 10: Maybe some Vivaldi, yeah.

1006
01:09:46,960 --> 01:09:49,800
Speaker 3: Is nice, but yeah, bach is good. So don't worry.

1007
01:09:49,840 --> 01:09:53,159
Speaker 6: I will set you up and you will come. Okay,

1008
01:09:53,359 --> 01:09:56,199
we'll get you and we'll we'll buy your beverages before

1009
01:09:56,399 --> 01:10:02,119
and but beverages after could tolerable. All right, all right,

1010
01:10:02,319 --> 01:10:05,520
just don't clap until everybody else claps. That's don't be

1011
01:10:05,640 --> 01:10:07,439
the one you know out.

1012
01:10:09,880 --> 01:10:10,239
Speaker 4: To worry.

1013
01:10:10,319 --> 01:10:11,640
Speaker 3: All right, good, good, good good.

1014
01:10:12,319 --> 01:10:13,560
Speaker 6: I think it's time to pull the plug.

1015
01:10:14,720 --> 01:10:15,199
Speaker 3: What do you think?

1016
01:10:15,239 --> 01:10:18,520
Speaker 6: Any closing thoughts before we wrap it up and ski

1017
01:10:18,640 --> 01:10:22,319
daddle out to Nebraska. Get some angst, some joy.

1018
01:10:22,560 --> 01:10:25,119
Speaker 4: Nothing, all right, we listen to some good music.

1019
01:10:25,359 --> 01:10:29,399
Speaker 6: Yeah, absolutely so. I thought these selections were great. We

1020
01:10:29,479 --> 01:10:32,720
didn't do any of the low hanging fruit, so I

1021
01:10:32,920 --> 01:10:35,119
like that. We dig the we dug a little deeper.

1022
01:10:35,199 --> 01:10:38,760
So very cool. Thank you, Crambones. Excellent selections. Thank you

1023
01:10:38,840 --> 01:10:40,840
all for joining us for the Rock and Roll History Show.

1024
01:10:41,239 --> 01:10:43,600
Don't forget to subscribe in your favorite podcast app. Check

1025
01:10:43,640 --> 01:10:45,119
out all the other shows we do here. There is

1026
01:10:45,159 --> 01:10:48,039
something for everybody. Go out, get some culture, listen to

1027
01:10:48,119 --> 01:10:50,720
some Beethoven. It won't kill you, guys. Promise we'll be

1028
01:10:50,800 --> 01:10:53,119
back next week with another brand new episode. Until then,

1029
01:10:53,359 --> 01:10:57,079
peace out, everybody, rock.

1030
01:10:57,000 --> 01:10:58,439
Speaker 8: Cop Bottom, it cram.

1031
01:11:00,880 --> 01:11:01,840
Speaker 2: Okay, Bye Bye.

1032
01:11:03,720 --> 01:11:08,279
Speaker 6: Hudson River Radio dot Com, a subsidiary of Glacier Entertainment LLC,

1033
01:11:08,760 --> 01:11:11,800
potentially successful to multi hundred dollars corporation