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Speaker 1: This is John fulbrud Hi. This is jar Williams Hi.
This is Mitch Margle of the Tokens Hi.
Speaker 3: This is Gary us Bonds mat here on the Rock
and Roll History Show.
Speaker 4: Hey, everybody, welcome back to the Rock and Roll History
Show on Hudson River Radio.
Speaker 5: I'm Brian Horowitz.
Speaker 4: So this week and next week we're going to take
a look at the classical music world. But I promise
you it will not be boring, so please don't shut
the show off.
Speaker 5: Just bear with us. You'll see as always.
Speaker 4: Before we hop in, allow me to introduce all of
the crambone joining us here tonight. Right first and foremost,
from the Richter Observatory, he read that old McDonald had
a dolphin.
Speaker 6: Is here, Flipper? How are you doing?
Speaker 7: Everybody?
Speaker 5: From Paranormal Yours?
Speaker 4: Her boss asked her why she only gets sick on workdays.
She said, it's her weekend immunity. Gail Newkan.
Speaker 5: That was a tongue twister.
Speaker 8: But boy, but by the way, for the h the
previous topic here, I used to work with a lady
who she and I used to teach Sunday school together
when we were teenagers, and she said one of her
kids went a little too far. He was singing about
the b I B L E I E I.
Speaker 6: Oh.
Speaker 4: It's one way to remembers true story.
Speaker 5: I want to read.
Speaker 4: This is why we teach kids' songs, because that's how
they remember ize think absolutely. And from the silver screen,
she saw Freddie Mercury, Venus Williams and Bruno Mars walk
into a bar. They didn't plant it that way. Mercedes
Kemp is.
Speaker 9: Here heavenly, Hey, everybody.
Speaker 5: Our official teacher.
Speaker 4: He says that if you see someone wearing camouflage, you
should walk straight into them so they know it's working.
John Kelly is back, Hey, everybody, sage advice. And last
but not least, of course, the host of shaving cream.
She went to glit. She she went to get her
glasses fixed. On the way there, she bumped into everybody.
Barbara pel is here.
Speaker 5: I'm Barbara.
Speaker 8: Yep, that sounds like me.
Speaker 4: Yeah, all right, so this might be a tongue twister
kind of night. I'm going to do my best here.
So you know what, music students who become rock musicians
learn about classical music, so it makes sense that a
lot of classical tunes get incorporated into rock music. So
that's what we're going to look at today. You guys
have all heard of John Williams, right, Star Wars, jaws et,
all that good stuff. All right, let me play you
a clip who hasn't exactly everybody in the world pretty
much has heard John Williams. Let me play you something.
Keep John Williams in the back of your head and
let me know what you think. Jaws right, similar.
Speaker 6: I know what it is, but I won't I won't.
I won't say it yet. I know what this piece is.
Speaker 10: I think I do it soon, all right, Neil, what
is it?
Speaker 6: I believe it's the the Mars Sweep from Holts Holts
the Planets.
Speaker 4: You are one hundred and ten percent correct.
Speaker 7: Talk about ton Wow, Yep.
Speaker 8: Not only does he know everything about rock music, but
he knows about classical music.
Speaker 6: Well a little. But and that would be what you
would call a bolero, right that.
Speaker 5: Yup?
Speaker 10: Correct?
Speaker 4: Written by the movement Mars from the Planets, first performed
in nineteen twenty, so it's one hundred and five years old.
Speaker 6: Oh, I like, I was just a kid then you were.
Speaker 5: Yep, so uh yeah.
Speaker 4: John Williams definitely had a little bit of influence from
from the classics. Here's the kicker when the brass comes in,
bomb ba ba bo. If you slow that down a
little bit even more, that's the beginning of Black Sabbath.
By Black Sabbath, that's where they got it from Geezer.
Butler took that from the Planets, same notes, same pattern.
Speaker 8: Is that legal?
Speaker 4: It is because I think Holst has exceeded the copyright.
Speaker 6: The statute of limitations has had run out by that point.
Speaker 7: Correct.
Speaker 4: Let me make a small adjustment here because I'm gonna
try to mess with your minds just a little bit more.
Speaker 8: Yep, mine's already messed up.
Speaker 4: Well, we know that, but we're gonna see what else
we can do. All right, you, let me play you
a little bit of a violin solo from Beethoven's Violin
Concerto in D Major from eighteen oh six. Just to clip.
Check this out, all right? Not bad, right, interesting? It's
ac Peerman by the way. So now clear your minds
and imagine I told you that this is a guitar
solo from a heavy metal song. All right, I took
it sock. I put some distortion on it.
Speaker 7: Check this out.
Speaker 6: Right.
Speaker 4: If I told you that first, you would have believed it.
Speaker 6: Right, absolutely is a shredder Man.
Speaker 4: You are absolutely correct. Let me play you a little
bit of box cello concert out by Yo Yo Ma.
Speaker 7: Check this out.
Speaker 4: All right, cool song, put some distortion on it. Now
you have a guitar solo, and check this out.
Speaker 5: All right.
Speaker 4: So I would be the first to admit that there's
some pretty boring class music out there, but there's a
lot of really good stuff. In the same breath, I
would say there's a lot of really boring rock and
roll out there. We just don't remember it because it
hasn't lasted as long as the hits and the stuff
that we tend to focus on. So all right, let's
take a look. We're going to focus on like clips
of classical music. We're not going to play full pieces,
but we're going to do some comparison and Gail you're
going to lead us off tonight, so okay.
Speaker 8: Well, oddly enough, the classical piece we have spoken about
it on this show before, to cut it in Fugue
in D minor by Johann Sebastian Bach. One of my
favorite pieces of classical music on the planet. If you
hear a really good organist play this live, there's nothing
in the world like it. I heard it many years ago,
performed live at the West Point Cadet Chapel. I think
they have the biggest pipe organ in the state, if
not the country. It has state trumpets. It's amazing and
I thought I'd died and gone to heaven when I
heard Chacotta and Fuguen d minor performed on that instrument.
It's one of the most widely recognizable works in the
organ repertoire. I've never seen Phantom of the Opera, so
I don't know if this was actually used and Phantom
of the Opera, But no, that's what no, okay, because
people always think Phantom of the Opera.
Speaker 4: From Phantom is very similar a lot of it because
it's a pipe organ, but up on the chromatic dan.
I saw it twice. Yeah, but so there are similarities
but no, this wasn't used.
Speaker 8: I have a friend to this day who's only five
days older than me that anytime he hears this piece
of music he gets scared. Shout out to if you're listening,
you know who you you are. Uh, they're not even
they're not even sure completely that Bach wrote it. Apparently,
the date of its origin is unknown. If Bach wrote it,
they think that it was written between seventeen oh four
and the seventeen forties. The piece opens with a chaccatta
section yummy, followed by a fugue that ends in a
coda and is largely typical of the North German organ
school of the Baroque era. And if it ain't Baroque,
don't fix it. So you get the idea. And if
you listen hard in the next in the modern song
that I chose by Muse, uh, listen to the guitar
riff and you will hear some similarities. Muse Or an
English rock band from Teignmouth, Devon. They were formed in
nineteen ninety four and they're still active. The band consists
of Matt Bellamy on lead vocals, guitar and keyboards, Chris
Wolston Holme on bass guitar and backing vocals, and Dominic
Howard on drums and percussion. They released their debut album,
Showbiz in nineteen ninety nine, which showcases Bellamy's falsetto and
a melancholic alternative rock style. Their second album, which the
song I Chose is from, is called Origin of Symmetry
from two thousand and one, incorporated wider instrumentation and romantic
classical influences and earned the band a reputation for energetic
live performances, and the album after that, Absolution in two
thousand and three, I, saw a further classical influence with
strings on tracks such as Butterflies and Hurricanes, and was
the first of seven consecutive UK number one albums. The
song I shows is called plug In Baby, and it
was released as the lead single from Origin of Symmetry
on the twentyeighth of February in two thousand and one
in Japan and on the twelfth of March two thousand
and one in the United Kingdom. It became the band's
highest charting single in the UK when it peaked at
number eleven on the UK Singles Chart, until it was
surpassed by Time Is Running Out, which peaked a number
eight in two thousand and three. Today, plug In Baby
is considered one of Muse's most notable songs, and has
been featured on the live album's Hullablue soundtrack from two
thousand and two. Haarp, I wonder if that's anything like
a A r P in two thousand and eight and
live at Rome Olympic Stadium two thousand and thirteen, Let's
have ale and then.
Speaker 11: I'm I've exposed Toesday Surprise Nows Time.
Speaker 3: Watch so yeah, yeah, time time twenty times, my wisp time.
Speaker 10: So good, fused.
Speaker 3: Paying girls, Young.
Speaker 1: Chang Crazy.
Speaker 6: To get.
Speaker 7: S side, my.
Speaker 1: Winter time, my time plating size.
Speaker 8: Side, I like mus in case people haven't figured that out.
So the song itself, now, I'm to go back to
the Chicotta and Fugue reference. I bet you heard it,
and the guitar. I think that's really, really super impressive.
I somehow did not realize it that that's what that was.
I don't know why, but.
Speaker 4: Because it's blended in, that's the kind of the magic
of what we're doing is not necessarily realize where it
came from.
Speaker 8: But so it's written in the key of B minor.
Although it doesn't begin or end on the tonic chord
of that key. It's mainly guitar and bass driven, no
question there, and moves at a tempo of one thirty
six beats permittent. The guitar riff is based on the
harmonic minor scale, and the beginning of the riff shows
similarities to Chakata obviously and the beginning of Samuel Barber's
adagio for strings. Total Guitar Magazine readers voted it as
the number one ultimate guitar riff of the two thousands
and the thirteenth best of all time in two thousand
and four. In twenty eleven, spinner dot com named plug
In Baby the forty sixth greatest guitar riff.
Speaker 7: Of all time.
Speaker 8: I wonder how many guitar riffs are in there that
this was voted number forty six.
Speaker 4: I wonder how they have so much free time to
sit down and figure it out.
Speaker 9: But be fun to sit there and like, oh, I'm
gonna rank this, you know, to just.
Speaker 10: Sit there and listen.
Speaker 4: By the time you get to like five ninety nine,
you're like, I don't remember what number two was, and
you're like to start still.
Speaker 6: I want that job.
Speaker 4: I'm cool.
Speaker 8: Oh my goodness. So many Muse songs are recognizable by
Bellamy's vocal, vibrato, falsetto and melismatic phrasing influenced by Jeff Buckley. Now,
what is melismatic for you?
Speaker 7: Say?
Speaker 8: I found out it's a definition for what I hate
when some people try to sing the national anthem. Melismatic
is a term derived from the Greek word mellos, which
means song, and melisma, which means ornamentation. It refers to
the act of embellishing a single syllable of a word
or phrase with multiple notes or syllables. In other words,
melismatic singing is a vocal technique where a singer stretches
out a single pitch or vowel sound with a series
of ornaments, such as trills, slides, or Glissando's handle wrote
a lot of stuff like that. But I'm begging anyone
whoever has sung the US national anthem and is ever
scheduled to do it again, please don't do that.
Speaker 4: Yeah, I agree. In general, I think that's a good rule,
Like we would call it runs and fills and all
that kind of stuff now, and I agree, sing it as.
Speaker 8: It was written Oh my goodness. If you want to,
if you want stuff that's written with that, look into
the corrals and stuff by George Frederick Handel. I've done
a lot of that stuff and it's fun, but don't
do it to the national anthem.
Speaker 9: Clean Land of the Free doesn't need ten syllables.
Speaker 8: Yes exactly, oh my gosh. As a pianist, Bellamy often
uses arpeggio's. Bellamy's compositions often suggest or quote late Classical
and Romantic era composers such as Sergei Rachmaninoff in Space
Dementia and Butterflies and Hurricanes, Camille Cessant in I Belong
to You and Moncur Savoi and Frederic Chopin in United
States of Eurasia. As a guitarist, Bellamy often uses arpeggiator
and pitch shift effects. Notice I enunciated that very carefully
pitch shift effects to create a more electronic sound, citing
Jimmy Hendricks and Tom Morello as influences. His guitar playing
is also influenced by Latin and Spanish guitar music. He said,
I just think that music is really passionate. It has
so much feel and flare to it. I've spent important
times in my life in Spain and Grease and various
deep things happened there, falling in love, stuff like that,
So maybe that rubbed off somewhere. Wolstenholmes's bass lines provide
a motif for many of Mus's songs. The band combines
bass guitar with effects and synthesizers to create overdriven fuzz
bass tones. You've heard of fuzzy guitar, Well, here we
have fuzz bass tones. Bellamy and Wolstenholme use touchscreen controllers
often built into their instruments, wow, to control synthesizers and effects.
I guess everything's all technology nowadays, a lot of it.
Speaker 10: Kind of crazy.
Speaker 8: Yeah, so that's what I got.
Speaker 4: Very cool. Thank you, prime example of what we're talking
about here, so excellent. All right, thank you, Gil. We're
going to take a real quick break and be back
with more right after this. Don't be a jerk.
Speaker 1: Listen to Hudson River Radio dot Com.
Speaker 9: This concludes the first part of this cassette. Please turn
the cassette over and begin again on side too.
Speaker 6: This is Hudson River Radio dot Com and welcome back.
Speaker 4: We're taking a look at classical influences on rock music
and we are up to Mercedes. So what do you
have for us?
Speaker 10: Oh?
Speaker 9: All right, So this was a funny topic for me.
Speaker 12: I don't know a lot about classical music, so at
first I was a bit baffled until I remembered that
the Alice Cooper group was very influenced by many many
classical pieces. On the Gramophone UK website. In an interview
with Alice, it says there have always been strong He said,
there have always been strong operatic elements in my songs.
Bob Esbren, who produced many of my successful albums and
who also worked with lou Reed, Pink Floyd and a
number of other artists, were classically trained.
Speaker 9: He added a he was classically traded. Did I make
that clear? Yeah?
Speaker 8: It's funny you should say that, because I was going
to ask you.
Speaker 7: Yeah.
Speaker 9: Yeah, Bob Ezred was classically trained. Aw, okay.
Speaker 12: So he added a classical touch to the theatrical ideas
I had my song My songs had rock based chord structures,
but Bob taught us to think classically. He added these
classical touches and it turned our songs into something different.
Speaker 9: I liked it.
Speaker 12: I liked the idea that those things could collide and
create something new and refreshing.
Speaker 9: So, for example, if you look at.
Speaker 12: The song gutter Cat versus the Jets from the School's
Out album, the writers listed are Glenn Buxton, Denstunaway, Leonard Bernstein,
Stephen Sondheim. So Leonard Bernstein composed the music for Westside Story,
which strongly influences the Gutter Cat's Jets song. Stephen Sondenheim
wrote the lyrics my song. It was based on a
piece by Frederick Chopin. He was a Polish composer who
lived from eighteen ten to eighteen forty nine and was
a leading composer of his era. He wrote the piece
fonta si improdue, very good.
Speaker 9: Excellent close.
Speaker 4: You could say fantasy, We're allowed, Okay, We're American, okay.
Speaker 9: Good, thank you. He wrote it in eighteen thirty four.
So let's hear his piece. So this this tune, this
piece went through three transformations.
Speaker 12: You heard the original and later it was adapted by
Harry Carroll and lyrics were written by Joseph McCarthy. It
was introduced in the Broadway show Oh Look, which opened
in March of nineteen eighteen, and was sung in the
show by.
Speaker 9: The Dally Sisters.
Speaker 12: Harry Carrol born in nineteen eighty two began playing music
in movie theaters as a child, and later he worked
as a tin pan alley arranger and as an entertainer.
Oh Look was his first full length musical. Joseph McCarthy
born in eighteen eighty five started singing cafes and went
on to work for music publishers. The song I'm Always
Chasing Rainbows became a popular vaudeville hit. The sheet music
for I'm Always Chasing Rainbows sold more than a million
copies in nineteen eighteen. It would have reached the top
of the charts in nineteen nineteen if the charts had
existed because they didn't have records. They did not yea,
which we talked about on a show a while ago,
So that would have been a big.
Speaker 4: Hit from a big hit.
Speaker 5: Yeah, she music sales.
Speaker 4: That's a big hit.
Speaker 5: That counts.
Speaker 9: From the website Musicology for Everyone.
Speaker 12: Carol McCarthy and others were chatting at the Fires Club
one night when someone remarked, you songwriters are an unpredictable lot.
You're up in the clouds one day, lower than all
hell the next Carol had a quick explanation, you know
why that is, don't you. We're always chasing rainbows, but
we never catch up with them, And somebody remarked that
a song with that title would surely be a hit.
Before the night was finished, McCarthy and Carol had written it.
Tin Pan songwriters frequently barred classical tunes. Carol arranged the
chorus of I'm Always Chasing Rainbows from the middle section
of Chopin's but the see impromptu. It seems that most
of the versions that I heard, and I listened to
quite a few start with them because a lot of
people covered it. They start with the phrase I'm always
chasing rainbows. So when I read the following on the
same musicology website, I had a big smile because I'm
an Alice Cooper fan, and numerous singers and instrumentalists have
performed and recorded the song over the years. Alice Cooper
this was a quote from the website. Alice Cooper at
least sang the verse. So listen carefully to the first
eight lines. They are so quick, Essentially Alice, he didn't
write them, but they were made for him.
Speaker 9: So let's hear the Alice Cooper version at the.
Speaker 10: End of the rainbow.
Speaker 1: That's happiness, and to find it how often not try?
But my life is a raised, just a wild Those
chairs and my dreams have been denied. Why have I
always been a feel y'all?
Speaker 10: What can the read and read?
Speaker 1: I wonder if the world's to man?
Speaker 10: I wonder if it could be chance?
Speaker 1: What chance?
Speaker 9: Scott?
Speaker 8: Yeah, very cool?
Speaker 3: I like that.
Speaker 13: So.
Speaker 12: Judy Garland sang it in the film Sigfield Girl with
Lana Turner and Hetty Lamar. Alice Fay recorded it for
one of her films, but it was never used. It
was recorded by A Liberaci and Dinah Shore in nineteen
sixty three. It was also sang by Harry James, Neil Sidaka,
Perry Como, Guy Lobardo, Tony Bennett, Henry burb Bing Crosby,
Benny Goodman, Al Jolson, Frank Sinatra, Sammy Davis Junior, Tony Martin,
Joe Stafford, and John Ray and also Mandy Pittankin from
a very old clip from a TV talk show that
was really big surprise for me. Oh and Puddle, Yes,
and Puddle's pity party.
Speaker 4: Ah the best there we go yep yeap.
Speaker 9: But Alice sang the verse nice.
Speaker 5: Thanks, all right, that's a good one.
Speaker 4: So yeah, I'm glad we played the beginning of show
pans so between the tacata and fugue, which I think
most people would RECOGNI and associated with Halloween address and
then chopin that may have sounded familiar to many of
us of a certain age who grew up being exposed
to classical music through Tom and Jerry and Looney Tunes
and that kind of stuff, which is an excellent way
to kind of ease into it because they play the
good stuff when Tom is sitting there playing the piano
and Jerry's just messing with him. Great way to start,
so highly recommended. All right, we're gonna take another quick
break and be back with more right after.
Speaker 7: This Hudson Riverradio dot com.
Speaker 1: Hudson Riverradio dot com.
Speaker 4: And we're back, and we are up to the professor himself,
mister Richter. You know it's gonna be good when it's Neil.
Speaker 7: So what do you have for us?
Speaker 6: Well, you know the saying, you know, I may be old,
but I got to see all the classic rock bands.
Well that may or may not be true with me,
But have I got a classic classical rocker for you. Now,
this is going to be a little convoluted, so you know,
hang on, tight, buckle up. The modern song, the modern
rock era song, the rock and roll era song that
I picked is called nut Rocker by b Bumble and
the Stingers. Now, let's talk about that. That the Bumble
and the Stingers. We're an American instrumental ensemble that specialized
in rock and roll arrangements of classical songs and melodies. Now,
in nineteen fifty nine, a bunch of studio session guys,
a bunch of studio musicians. They are in the house
band for a place called Rendezvous Records, studio for Rendezvous, Yeah,
Rendezvous Records, who are located or were located in Los Angeles, California. Well,
they got together and they were sitting around thinking, well,
how can we make some you know money, But you know,
not have to go go out and do it. We
could just do it here in the studio. So they
came up with an idea, and that was to record
a rock version of the song in the Mood, which
was a popular big band era jazz standard, probably most
famously recorded by Glenn Miller back in nineteen thirty nine. Now.
They recorded this the rock version and released it under
the name of the Ernie Fields Orchestra. I don't know
who Ernie Fields was or his orchestra, but that's what
they called themselves, and it actually reached number four on
the US pop charts in early nineteen sixty so they were, hm,
we're on to something. So following that success, they switched
their name over to be Bumble and the Stingers in
nineteen sixty one, and under the guidance of legendary record
producer and infamous record producer I should say, Kim Fowley,
who had recently recorded a number one novelty song called
Ali Oop with another studio band called the Hollywood Argyles
and would later go on to discover The Runaways with
Joan Jet in the mid seventies. Anyway, this group b
Bumble gave the same treatment to a piece of classical music,
and in this case it was Rimsky Korsakov's Flight of
the Bumblebee, which I'm sure you all know if you've
watched The Green Hornet. But they called this the Bumble Boogie.
Speaker 10: Love it Now.
Speaker 6: Bumble Boogie reached number twenty one on the US charts
that same year, so they tried to keep it going.
Shortly after that, Falley had secured the copyright to an
arrangement to the march of Tchaikowski's eighteen ninety two ballet
The Nutcracker. Tchaikowski who lived between eighteen forty and eighteen
ninety three and whose first name I cannot for the
life of me pronounced.
Speaker 14: Peter Okaykowski, good old Pete. Yeah, he was a Russians fine.
He was a Russian composer during the nineteenth centuries Romantic period,
and he was the first Russian composer to achieve lasting
success around the globe. And some of his other popular
and best known works include Swan Lake, Quack Quack Quack,
and the eighteen twelve eighteen twelve Overture.
Speaker 9: Boom.
Speaker 6: That's how you've all known that. So why don't we
give a listen to right now Chaikowski's march from The Nutcracker?
All right, so you get the gist of that. So anyway,
Fowley had taken an arrangement of this and he rocked
it up, and he called it not Rocker. But by
this time, after a couple of less than successful singles
and releases by our friends be Bumble and the Stingers.
Rendezvous Records had kind of lost interest in them, and
you know said, now, well, you know, don't call us,
We'll call you, but ire intrepid Kim Fallely said, well,
I'll just take it to another studio with a bunch
of other studio musicians and he recorded it and that
was under the name of Jack B. Nimble and the Quicks. Anyway,
this got back to the head of Rendezvous Records who
heard it and he was like, whoa wait a minute,
and he convinced Fali that they Rendezvous could do a
better job with their studio band, which was be Bumble
in the Stingers. So back to Rendezvous it was now
Nut Rocker by B. Bumble in the Stingers was released
in February of nineteen sixty two and it went to
number twenty three in the US and was a smash
in the UK, hitting number one. So okay, nuts, all right,
that's that kind of rocks if you ask me, it does.
Speaker 4: That's that's that was so cute. That's a fast march,
that's a trot.
Speaker 6: I like it. Well. After B Bumble and the Stingers
recordings became successful, they actually got together a touring group
of different musicians and they would go out and play
it live. So their dream of just recording in the
studio came true. And just a side note, the other
version that was recorded by Jack be Nimble and the Quicks.
That label released that version of it too, seeing that
this had been and it bombed, So there you go.
Speaker 7: Wow.
Speaker 6: Now, at the time that the original release came out
in the UK of b Bumble and the Stingers, the
BBC had a policy of banning records that parodied classical music.
Why I don't know, but that's the BBC for you.
But after careful consideration they decided that nut Rocker would
not offend quote any reasonable and therefore was not banned.
And it was a good thing because it went, as
I said, right to number one. It was also used
as the theme song for the Boston Bruins ice hockey
TV broadcasts back in the nineteen seventies and eighties. It
was a favorite when performed live by Prague rockers Emerson,
Lake and Palmer, who released it as a single in
nineteen seventy two. That single reached number seventy on the
US Billboard Hot one hundred, and it was also included
on ELP's third album called Pictures at an Exhibition, which
kind of featured a whole bunch of reworked classical songs
into a rock sound and a pretty interesting record. And finally,
in two thousand and nine, the Trans Siberian Orchestra released
a version of nut Rocker and it featured ELP's Greg
Lake on it. So there you go, rock on you nuts.
Speaker 4: Yep, that's going to go on the playlist.
Speaker 7: It's such a fun song.
Speaker 6: It is.
Speaker 10: It is totally very cool.
Speaker 4: Well, I thought we could wrap up this week with
a really short one just to kind of cap off
part one. You guys have all heard of a guy
named Elvis Presley. Yeah, okay, So in nineteen sixty one
he was in a movie called Blue Hawaii. A hit
song from that can't Help Falling in Love, which I'm
sure we all know, but if you don't, I'm going
to play a clip of it. Well. The melody in
the chord progression of Can't Help Falling in Love was
taken from a French love song called I Don't Speak
French plus.
Speaker 10: Here de A Moore?
Speaker 4: Am I close? Oh I've sung that okay, written by
Jean Paul Martini in seventeen eighty four. So yeah, two
hundred and fifty years later it came back. It happened
to be the last song that Elvis Presley performed live
at his final concert in Indianapolis on June twenty sixth,
nineteen seventy seven, and he died that following August. So
if you're not familiar, let me play just the first
verse of Can't help Falling in Love by Elvis?
Speaker 7: What is well, say only food, but uh can fall in.
Speaker 5: With show?
Speaker 4: All right, so everybody recognizes that, right, So let me
play the beginning of plas air de amore.
Speaker 5: See if.
Speaker 4: That's what I said? Just differently, So let me play
the beginning. See if this sounds familiar? A little bit
of an influence there, right.
Speaker 9: Yeah, it almost sounds like a music box with one
of those ballerinas. Yeah, it does absolutely of the Elvis song.
Speaker 4: Well, that one came first, don't forget Elvis was later.
All right, Well, I think that's a good one to
end on and give everybody a break. Everybody's got homework.
They have to go watch Looney Tunes and watch Tom
and Jerry and all.
Speaker 5: The cards that watch bugs.
Speaker 4: Bunny conduct the orchestra because yeah, twist my arm right.
Speaker 10: I agree?
Speaker 13: Can I tell you? Lately, for some reason, I've been
getting a lot of Looney tunes and I still media.
Speaker 5: Feed mm hm, nothing wrong with that.
Speaker 13: Yeah, I get completely lost and old bugs bunnies and
oh my god when bugs are playing the banjo and
the opera singers trying to practice class the opera singer
when he's on the oh my god, bring deliveries.
Speaker 5: Cannot beat it.
Speaker 4: So you have a week to go catch up on
your Looney tunes and Tom and Jerry's and we're going
to be back next week with more. So as always,
thank you Crambones, excellent selection so far, and thank you
all for joining us for the Rock and Roll History Show.
Don't get to subscribe in your favorite podcast app and
check out all the other shows we do hear outs
in River Radio.
Speaker 5: There is something for everybody.
Speaker 4: We'll be back with a little bit more classical, but
don't worry, we won't hurt your brain too much until then.
Have a great weekend and peace out everybody.
Speaker 2: Rock cop Bottom.
Speaker 8: Okay, Bye bye.
Speaker 4: Pudson River Radio dot com A Subsidiaria Sus Entertainment LLC.
Speaker 5: Potentially successful. Is the multi hundred dollars Corporation