1 00:00:03,240 --> 00:00:05,040 Speaker 1: Hudson River Radio dot com. 2 00:00:05,120 --> 00:00:07,559 Speaker 2: You notice place only cost me one hundred bucks. Has 3 00:00:07,559 --> 00:00:10,839 a better deal than that Aaron Neville megaphone I bought. Okay, 4 00:00:10,880 --> 00:00:12,919 I want to thank you guys for making me activity 5 00:00:12,919 --> 00:00:15,720 director for the day. Okay, first of all, can everybody 6 00:00:18,519 --> 00:00:22,480 there hell Hell's wrong with this thing? Okay, we're about 7 00:00:22,480 --> 00:00:23,120 to start the. 8 00:00:27,120 --> 00:00:29,440 Speaker 1: This is John fulbrud Hi. This is jar Williams Hi. 9 00:00:29,559 --> 00:00:31,399 This is Mitch Margle of the Tokens Hi. 10 00:00:31,519 --> 00:00:33,759 Speaker 3: This is Gary us Bonds mat here on the Rock 11 00:00:33,759 --> 00:00:34,880 and Roll History Show. 12 00:00:38,560 --> 00:00:40,840 Speaker 4: Hey, everybody, welcome back to the Rock and Roll History 13 00:00:40,840 --> 00:00:42,039 Show on Hudson River Radio. 14 00:00:42,719 --> 00:00:43,880 Speaker 5: I'm Brian Horowitz. 15 00:00:43,960 --> 00:00:46,119 Speaker 4: So this week and next week we're going to take 16 00:00:46,119 --> 00:00:49,240 a look at the classical music world. But I promise 17 00:00:49,280 --> 00:00:51,840 you it will not be boring, so please don't shut 18 00:00:51,840 --> 00:00:52,439 the show off. 19 00:00:52,640 --> 00:00:55,799 Speaker 5: Just bear with us. You'll see as always. 20 00:00:55,880 --> 00:00:58,240 Speaker 4: Before we hop in, allow me to introduce all of 21 00:00:58,280 --> 00:01:02,159 the crambone joining us here tonight. Right first and foremost, 22 00:01:02,240 --> 00:01:06,120 from the Richter Observatory, he read that old McDonald had 23 00:01:06,159 --> 00:01:06,719 a dolphin. 24 00:01:10,560 --> 00:01:18,560 Speaker 6: Is here, Flipper? How are you doing? 25 00:01:18,599 --> 00:01:19,280 Speaker 7: Everybody? 26 00:01:19,560 --> 00:01:20,920 Speaker 5: From Paranormal Yours? 27 00:01:21,040 --> 00:01:24,040 Speaker 4: Her boss asked her why she only gets sick on workdays. 28 00:01:24,239 --> 00:01:28,840 She said, it's her weekend immunity. Gail Newkan. 29 00:01:30,400 --> 00:01:31,319 Speaker 5: That was a tongue twister. 30 00:01:31,439 --> 00:01:37,680 Speaker 8: But boy, but by the way, for the h the 31 00:01:37,719 --> 00:01:42,280 previous topic here, I used to work with a lady 32 00:01:42,439 --> 00:01:45,599 who she and I used to teach Sunday school together 33 00:01:45,760 --> 00:01:49,799 when we were teenagers, and she said one of her 34 00:01:49,879 --> 00:01:53,319 kids went a little too far. He was singing about 35 00:01:53,319 --> 00:01:55,239 the b I B L E I E I. 36 00:01:55,319 --> 00:01:55,439 Speaker 6: Oh. 37 00:01:59,000 --> 00:02:01,400 Speaker 4: It's one way to remembers true story. 38 00:02:02,359 --> 00:02:03,120 Speaker 5: I want to read. 39 00:02:03,400 --> 00:02:05,560 Speaker 4: This is why we teach kids' songs, because that's how 40 00:02:05,599 --> 00:02:10,439 they remember ize think absolutely. And from the silver screen, 41 00:02:10,599 --> 00:02:14,599 she saw Freddie Mercury, Venus Williams and Bruno Mars walk 42 00:02:14,639 --> 00:02:19,000 into a bar. They didn't plant it that way. Mercedes 43 00:02:19,039 --> 00:02:19,479 Kemp is. 44 00:02:19,479 --> 00:02:24,680 Speaker 9: Here heavenly, Hey, everybody. 45 00:02:24,879 --> 00:02:26,120 Speaker 5: Our official teacher. 46 00:02:26,240 --> 00:02:28,879 Speaker 4: He says that if you see someone wearing camouflage, you 47 00:02:28,919 --> 00:02:31,560 should walk straight into them so they know it's working. 48 00:02:32,199 --> 00:02:38,719 John Kelly is back, Hey, everybody, sage advice. And last 49 00:02:38,719 --> 00:02:40,879 but not least, of course, the host of shaving cream. 50 00:02:41,120 --> 00:02:44,560 She went to glit. She she went to get her 51 00:02:44,599 --> 00:02:48,639 glasses fixed. On the way there, she bumped into everybody. 52 00:02:49,000 --> 00:02:50,120 Barbara pel is here. 53 00:02:50,280 --> 00:02:51,159 Speaker 5: I'm Barbara. 54 00:02:52,560 --> 00:02:53,599 Speaker 8: Yep, that sounds like me. 55 00:02:54,000 --> 00:02:56,840 Speaker 4: Yeah, all right, so this might be a tongue twister 56 00:02:56,960 --> 00:02:58,960 kind of night. I'm going to do my best here. 57 00:02:59,479 --> 00:03:04,159 So you know what, music students who become rock musicians 58 00:03:04,240 --> 00:03:08,039 learn about classical music, so it makes sense that a 59 00:03:08,080 --> 00:03:11,560 lot of classical tunes get incorporated into rock music. So 60 00:03:11,599 --> 00:03:13,680 that's what we're going to look at today. You guys 61 00:03:13,719 --> 00:03:17,439 have all heard of John Williams, right, Star Wars, jaws et, 62 00:03:17,719 --> 00:03:20,280 all that good stuff. All right, let me play you 63 00:03:20,360 --> 00:03:23,719 a clip who hasn't exactly everybody in the world pretty 64 00:03:23,759 --> 00:03:26,120 much has heard John Williams. Let me play you something. 65 00:03:26,240 --> 00:03:27,960 Keep John Williams in the back of your head and 66 00:03:28,039 --> 00:03:43,280 let me know what you think. Jaws right, similar. 67 00:03:44,599 --> 00:03:47,919 Speaker 6: I know what it is, but I won't I won't. 68 00:03:48,439 --> 00:03:51,000 I won't say it yet. I know what this piece is. 69 00:03:51,840 --> 00:04:05,080 Speaker 10: I think I do it soon, all right, Neil, what 70 00:04:05,280 --> 00:04:05,520 is it? 71 00:04:06,840 --> 00:04:11,680 Speaker 6: I believe it's the the Mars Sweep from Holts Holts 72 00:04:11,960 --> 00:04:12,719 the Planets. 73 00:04:12,800 --> 00:04:15,360 Speaker 4: You are one hundred and ten percent correct. 74 00:04:15,479 --> 00:04:17,720 Speaker 7: Talk about ton Wow, Yep. 75 00:04:18,920 --> 00:04:22,839 Speaker 8: Not only does he know everything about rock music, but 76 00:04:23,000 --> 00:04:25,439 he knows about classical music. 77 00:04:25,720 --> 00:04:28,079 Speaker 6: Well a little. But and that would be what you 78 00:04:28,079 --> 00:04:29,600 would call a bolero, right that. 79 00:04:31,560 --> 00:04:31,839 Speaker 5: Yup? 80 00:04:32,519 --> 00:04:32,920 Speaker 10: Correct? 81 00:04:32,959 --> 00:04:38,240 Speaker 4: Written by the movement Mars from the Planets, first performed 82 00:04:38,240 --> 00:04:41,240 in nineteen twenty, so it's one hundred and five years old. 83 00:04:42,399 --> 00:04:44,959 Speaker 6: Oh, I like, I was just a kid then you were. 84 00:04:45,000 --> 00:04:48,839 Speaker 5: Yep, so uh yeah. 85 00:04:49,240 --> 00:04:51,720 Speaker 4: John Williams definitely had a little bit of influence from 86 00:04:52,399 --> 00:04:56,120 from the classics. Here's the kicker when the brass comes in, 87 00:04:56,240 --> 00:04:59,040 bomb ba ba bo. If you slow that down a 88 00:04:59,040 --> 00:05:02,959 little bit even more, that's the beginning of Black Sabbath. 89 00:05:03,199 --> 00:05:06,199 By Black Sabbath, that's where they got it from Geezer. 90 00:05:06,199 --> 00:05:11,399 Butler took that from the Planets, same notes, same pattern. 91 00:05:12,040 --> 00:05:12,680 Speaker 8: Is that legal? 92 00:05:13,439 --> 00:05:17,319 Speaker 4: It is because I think Holst has exceeded the copyright. 93 00:05:18,319 --> 00:05:21,319 Speaker 6: The statute of limitations has had run out by that point. 94 00:05:21,480 --> 00:05:21,959 Speaker 7: Correct. 95 00:05:23,079 --> 00:05:25,959 Speaker 4: Let me make a small adjustment here because I'm gonna 96 00:05:26,160 --> 00:05:28,360 try to mess with your minds just a little bit more. 97 00:05:30,720 --> 00:05:32,360 Speaker 8: Yep, mine's already messed up. 98 00:05:32,759 --> 00:05:35,160 Speaker 4: Well, we know that, but we're gonna see what else 99 00:05:35,199 --> 00:05:38,040 we can do. All right, you, let me play you 100 00:05:38,399 --> 00:05:42,240 a little bit of a violin solo from Beethoven's Violin 101 00:05:42,319 --> 00:05:45,839 Concerto in D Major from eighteen oh six. Just to clip. 102 00:05:45,920 --> 00:06:30,040 Check this out, all right? Not bad, right, interesting? It's 103 00:06:30,040 --> 00:06:33,319 ac Peerman by the way. So now clear your minds 104 00:06:33,560 --> 00:06:36,240 and imagine I told you that this is a guitar 105 00:06:36,279 --> 00:06:39,240 solo from a heavy metal song. All right, I took 106 00:06:39,279 --> 00:06:41,079 it sock. I put some distortion on it. 107 00:06:41,319 --> 00:06:42,160 Speaker 7: Check this out. 108 00:07:00,800 --> 00:07:00,920 Speaker 6: Right. 109 00:07:00,959 --> 00:07:02,839 Speaker 4: If I told you that first, you would have believed it. 110 00:07:02,959 --> 00:07:06,639 Speaker 6: Right, absolutely is a shredder Man. 111 00:07:06,839 --> 00:07:09,240 Speaker 4: You are absolutely correct. Let me play you a little 112 00:07:09,240 --> 00:07:12,560 bit of box cello concert out by Yo Yo Ma. 113 00:07:12,920 --> 00:07:13,800 Speaker 7: Check this out. 114 00:07:31,360 --> 00:07:34,920 Speaker 4: All right, cool song, put some distortion on it. Now 115 00:07:34,959 --> 00:07:36,800 you have a guitar solo, and check this out. 116 00:07:55,040 --> 00:07:55,439 Speaker 5: All right. 117 00:07:55,519 --> 00:07:59,040 Speaker 4: So I would be the first to admit that there's 118 00:07:59,040 --> 00:08:01,680 some pretty boring class music out there, but there's a 119 00:08:01,720 --> 00:08:04,680 lot of really good stuff. In the same breath, I 120 00:08:04,720 --> 00:08:06,519 would say there's a lot of really boring rock and 121 00:08:06,639 --> 00:08:09,439 roll out there. We just don't remember it because it 122 00:08:09,439 --> 00:08:12,759 hasn't lasted as long as the hits and the stuff 123 00:08:12,759 --> 00:08:15,720 that we tend to focus on. So all right, let's 124 00:08:15,720 --> 00:08:17,480 take a look. We're going to focus on like clips 125 00:08:17,480 --> 00:08:19,839 of classical music. We're not going to play full pieces, 126 00:08:19,879 --> 00:08:22,920 but we're going to do some comparison and Gail you're 127 00:08:22,959 --> 00:08:25,560 going to lead us off tonight, so okay. 128 00:08:25,720 --> 00:08:30,360 Speaker 8: Well, oddly enough, the classical piece we have spoken about 129 00:08:30,399 --> 00:08:33,519 it on this show before, to cut it in Fugue 130 00:08:33,600 --> 00:08:38,440 in D minor by Johann Sebastian Bach. One of my 131 00:08:38,639 --> 00:08:42,919 favorite pieces of classical music on the planet. If you 132 00:08:43,039 --> 00:08:47,679 hear a really good organist play this live, there's nothing 133 00:08:47,720 --> 00:08:51,679 in the world like it. I heard it many years ago, 134 00:08:51,720 --> 00:08:56,360 performed live at the West Point Cadet Chapel. I think 135 00:08:56,360 --> 00:09:00,200 they have the biggest pipe organ in the state, if 136 00:09:00,240 --> 00:09:05,799 not the country. It has state trumpets. It's amazing and 137 00:09:06,200 --> 00:09:08,039 I thought I'd died and gone to heaven when I 138 00:09:08,080 --> 00:09:14,399 heard Chacotta and Fuguen d minor performed on that instrument. 139 00:09:15,120 --> 00:09:18,559 It's one of the most widely recognizable works in the 140 00:09:18,679 --> 00:09:23,399 organ repertoire. I've never seen Phantom of the Opera, so 141 00:09:23,480 --> 00:09:26,519 I don't know if this was actually used and Phantom 142 00:09:26,559 --> 00:09:30,080 of the Opera, But no, that's what no, okay, because 143 00:09:30,120 --> 00:09:33,440 people always think Phantom of the Opera. 144 00:09:33,399 --> 00:09:36,480 Speaker 4: From Phantom is very similar a lot of it because 145 00:09:36,480 --> 00:09:39,480 it's a pipe organ, but up on the chromatic dan. 146 00:09:40,320 --> 00:09:44,200 I saw it twice. Yeah, but so there are similarities 147 00:09:44,240 --> 00:09:45,759 but no, this wasn't used. 148 00:09:46,559 --> 00:09:49,200 Speaker 8: I have a friend to this day who's only five 149 00:09:49,279 --> 00:09:52,200 days older than me that anytime he hears this piece 150 00:09:52,240 --> 00:09:59,360 of music he gets scared. Shout out to if you're listening, 151 00:09:59,399 --> 00:10:05,120 you know who you you are. Uh, they're not even 152 00:10:06,399 --> 00:10:12,720 they're not even sure completely that Bach wrote it. Apparently, 153 00:10:13,279 --> 00:10:17,360 the date of its origin is unknown. If Bach wrote it, 154 00:10:17,399 --> 00:10:22,480 they think that it was written between seventeen oh four 155 00:10:22,679 --> 00:10:26,600 and the seventeen forties. The piece opens with a chaccatta 156 00:10:26,759 --> 00:10:30,159 section yummy, followed by a fugue that ends in a 157 00:10:30,240 --> 00:10:34,320 coda and is largely typical of the North German organ 158 00:10:34,440 --> 00:10:38,519 school of the Baroque era. And if it ain't Baroque, 159 00:10:38,679 --> 00:11:45,039 don't fix it. So you get the idea. And if 160 00:11:45,039 --> 00:11:49,480 you listen hard in the next in the modern song 161 00:11:49,519 --> 00:11:53,559 that I chose by Muse, uh, listen to the guitar 162 00:11:53,720 --> 00:12:00,120 riff and you will hear some similarities. Muse Or an 163 00:12:00,159 --> 00:12:04,440 English rock band from Teignmouth, Devon. They were formed in 164 00:12:04,519 --> 00:12:08,679 nineteen ninety four and they're still active. The band consists 165 00:12:08,759 --> 00:12:13,759 of Matt Bellamy on lead vocals, guitar and keyboards, Chris 166 00:12:14,120 --> 00:12:18,759 Wolston Holme on bass guitar and backing vocals, and Dominic 167 00:12:18,919 --> 00:12:25,279 Howard on drums and percussion. They released their debut album, 168 00:12:25,480 --> 00:12:30,799 Showbiz in nineteen ninety nine, which showcases Bellamy's falsetto and 169 00:12:30,879 --> 00:12:36,799 a melancholic alternative rock style. Their second album, which the 170 00:12:36,840 --> 00:12:41,519 song I Chose is from, is called Origin of Symmetry 171 00:12:42,480 --> 00:12:47,879 from two thousand and one, incorporated wider instrumentation and romantic 172 00:12:48,000 --> 00:12:53,600 classical influences and earned the band a reputation for energetic 173 00:12:53,679 --> 00:12:58,720 live performances, and the album after that, Absolution in two 174 00:12:58,720 --> 00:13:02,480 thousand and three, I, saw a further classical influence with 175 00:13:02,559 --> 00:13:07,759 strings on tracks such as Butterflies and Hurricanes, and was 176 00:13:07,759 --> 00:13:12,600 the first of seven consecutive UK number one albums. The 177 00:13:12,679 --> 00:13:16,759 song I shows is called plug In Baby, and it 178 00:13:16,799 --> 00:13:20,360 was released as the lead single from Origin of Symmetry 179 00:13:20,960 --> 00:13:23,919 on the twentyeighth of February in two thousand and one 180 00:13:24,080 --> 00:13:27,759 in Japan and on the twelfth of March two thousand 181 00:13:27,759 --> 00:13:31,320 and one in the United Kingdom. It became the band's 182 00:13:31,440 --> 00:13:34,240 highest charting single in the UK when it peaked at 183 00:13:34,320 --> 00:13:38,639 number eleven on the UK Singles Chart, until it was 184 00:13:38,679 --> 00:13:41,720 surpassed by Time Is Running Out, which peaked a number 185 00:13:41,759 --> 00:13:45,840 eight in two thousand and three. Today, plug In Baby 186 00:13:46,240 --> 00:13:49,759 is considered one of Muse's most notable songs, and has 187 00:13:49,799 --> 00:13:53,840 been featured on the live album's Hullablue soundtrack from two 188 00:13:53,840 --> 00:13:59,480 thousand and two. Haarp, I wonder if that's anything like 189 00:13:59,720 --> 00:14:02,279 a A r P in two thousand and eight and 190 00:14:02,759 --> 00:14:07,919 live at Rome Olympic Stadium two thousand and thirteen, Let's 191 00:14:08,000 --> 00:14:12,039 have ale and then. 192 00:14:09,600 --> 00:14:50,720 Speaker 11: I'm I've exposed Toesday Surprise Nows Time. 193 00:14:52,000 --> 00:15:31,639 Speaker 3: Watch so yeah, yeah, time time twenty times, my wisp time. 194 00:15:53,279 --> 00:15:55,080 Speaker 10: So good, fused. 195 00:15:56,480 --> 00:16:01,759 Speaker 3: Paying girls, Young. 196 00:16:06,559 --> 00:16:11,879 Speaker 1: Chang Crazy. 197 00:16:13,960 --> 00:16:14,840 Speaker 6: To get. 198 00:16:27,600 --> 00:16:28,879 Speaker 7: S side, my. 199 00:16:30,480 --> 00:16:43,159 Speaker 1: Winter time, my time plating size. 200 00:16:45,279 --> 00:17:42,440 Speaker 8: Side, I like mus in case people haven't figured that out. 201 00:17:47,000 --> 00:17:52,039 So the song itself, now, I'm to go back to 202 00:17:53,960 --> 00:17:58,559 the Chicotta and Fugue reference. I bet you heard it, 203 00:17:58,920 --> 00:18:03,519 and the guitar. I think that's really, really super impressive. 204 00:18:04,960 --> 00:18:09,680 I somehow did not realize it that that's what that was. 205 00:18:10,480 --> 00:18:11,559 I don't know why, but. 206 00:18:11,880 --> 00:18:15,519 Speaker 4: Because it's blended in, that's the kind of the magic 207 00:18:15,640 --> 00:18:18,559 of what we're doing is not necessarily realize where it 208 00:18:18,599 --> 00:18:19,000 came from. 209 00:18:19,119 --> 00:18:23,200 Speaker 8: But so it's written in the key of B minor. 210 00:18:23,519 --> 00:18:26,400 Although it doesn't begin or end on the tonic chord 211 00:18:26,440 --> 00:18:30,759 of that key. It's mainly guitar and bass driven, no 212 00:18:32,519 --> 00:18:36,480 question there, and moves at a tempo of one thirty 213 00:18:36,680 --> 00:18:41,240 six beats permittent. The guitar riff is based on the 214 00:18:41,319 --> 00:18:45,680 harmonic minor scale, and the beginning of the riff shows 215 00:18:45,960 --> 00:18:51,680 similarities to Chakata obviously and the beginning of Samuel Barber's 216 00:18:51,720 --> 00:18:59,319 adagio for strings. Total Guitar Magazine readers voted it as 217 00:18:59,440 --> 00:19:04,160 the number one ultimate guitar riff of the two thousands 218 00:19:04,720 --> 00:19:07,559 and the thirteenth best of all time in two thousand 219 00:19:07,559 --> 00:19:12,279 and four. In twenty eleven, spinner dot com named plug 220 00:19:12,359 --> 00:19:15,920 In Baby the forty sixth greatest guitar riff. 221 00:19:15,839 --> 00:19:16,599 Speaker 7: Of all time. 222 00:19:17,119 --> 00:19:20,119 Speaker 8: I wonder how many guitar riffs are in there that 223 00:19:20,400 --> 00:19:22,319 this was voted number forty six. 224 00:19:22,480 --> 00:19:24,279 Speaker 4: I wonder how they have so much free time to 225 00:19:24,319 --> 00:19:25,319 sit down and figure it out. 226 00:19:25,720 --> 00:19:29,400 Speaker 9: But be fun to sit there and like, oh, I'm 227 00:19:29,440 --> 00:19:30,720 gonna rank this, you know, to just. 228 00:19:30,720 --> 00:19:31,440 Speaker 10: Sit there and listen. 229 00:19:31,559 --> 00:19:33,799 Speaker 4: By the time you get to like five ninety nine, 230 00:19:33,839 --> 00:19:35,839 you're like, I don't remember what number two was, and 231 00:19:35,920 --> 00:19:37,960 you're like to start still. 232 00:19:38,039 --> 00:19:38,920 Speaker 6: I want that job. 233 00:19:39,279 --> 00:19:41,079 Speaker 4: I'm cool. 234 00:19:42,640 --> 00:19:49,279 Speaker 8: Oh my goodness. So many Muse songs are recognizable by 235 00:19:49,480 --> 00:19:58,200 Bellamy's vocal, vibrato, falsetto and melismatic phrasing influenced by Jeff Buckley. Now, 236 00:19:58,640 --> 00:20:00,599 what is melismatic for you? 237 00:20:00,799 --> 00:20:01,000 Speaker 7: Say? 238 00:20:02,079 --> 00:20:04,720 Speaker 8: I found out it's a definition for what I hate 239 00:20:04,880 --> 00:20:09,319 when some people try to sing the national anthem. Melismatic 240 00:20:09,440 --> 00:20:13,039 is a term derived from the Greek word mellos, which 241 00:20:13,160 --> 00:20:18,480 means song, and melisma, which means ornamentation. It refers to 242 00:20:18,599 --> 00:20:21,960 the act of embellishing a single syllable of a word 243 00:20:22,200 --> 00:20:26,200 or phrase with multiple notes or syllables. In other words, 244 00:20:26,400 --> 00:20:29,720 melismatic singing is a vocal technique where a singer stretches 245 00:20:29,759 --> 00:20:33,839 out a single pitch or vowel sound with a series 246 00:20:33,920 --> 00:20:39,839 of ornaments, such as trills, slides, or Glissando's handle wrote 247 00:20:39,920 --> 00:20:43,960 a lot of stuff like that. But I'm begging anyone 248 00:20:44,039 --> 00:20:47,240 whoever has sung the US national anthem and is ever 249 00:20:47,319 --> 00:20:50,200 scheduled to do it again, please don't do that. 250 00:20:50,759 --> 00:20:53,400 Speaker 4: Yeah, I agree. In general, I think that's a good rule, 251 00:20:53,599 --> 00:20:56,319 Like we would call it runs and fills and all 252 00:20:56,359 --> 00:20:59,480 that kind of stuff now, and I agree, sing it as. 253 00:20:59,480 --> 00:21:03,599 Speaker 8: It was written Oh my goodness. If you want to, 254 00:21:03,720 --> 00:21:07,839 if you want stuff that's written with that, look into 255 00:21:08,319 --> 00:21:13,000 the corrals and stuff by George Frederick Handel. I've done 256 00:21:13,079 --> 00:21:18,960 a lot of that stuff and it's fun, but don't 257 00:21:19,079 --> 00:21:20,559 do it to the national anthem. 258 00:21:20,799 --> 00:21:23,160 Speaker 9: Clean Land of the Free doesn't need ten syllables. 259 00:21:23,480 --> 00:21:27,920 Speaker 8: Yes exactly, oh my gosh. As a pianist, Bellamy often 260 00:21:28,039 --> 00:21:34,200 uses arpeggio's. Bellamy's compositions often suggest or quote late Classical 261 00:21:34,359 --> 00:21:40,039 and Romantic era composers such as Sergei Rachmaninoff in Space 262 00:21:40,119 --> 00:21:46,359 Dementia and Butterflies and Hurricanes, Camille Cessant in I Belong 263 00:21:46,519 --> 00:21:55,920 to You and Moncur Savoi and Frederic Chopin in United 264 00:21:55,960 --> 00:22:02,960 States of Eurasia. As a guitarist, Bellamy often uses arpeggiator 265 00:22:03,039 --> 00:22:08,720 and pitch shift effects. Notice I enunciated that very carefully 266 00:22:08,839 --> 00:22:14,000 pitch shift effects to create a more electronic sound, citing 267 00:22:14,079 --> 00:22:18,559 Jimmy Hendricks and Tom Morello as influences. His guitar playing 268 00:22:18,680 --> 00:22:23,240 is also influenced by Latin and Spanish guitar music. He said, 269 00:22:23,319 --> 00:22:26,920 I just think that music is really passionate. It has 270 00:22:27,000 --> 00:22:30,400 so much feel and flare to it. I've spent important 271 00:22:30,480 --> 00:22:33,799 times in my life in Spain and Grease and various 272 00:22:33,880 --> 00:22:37,720 deep things happened there, falling in love, stuff like that, 273 00:22:38,519 --> 00:22:44,599 So maybe that rubbed off somewhere. Wolstenholmes's bass lines provide 274 00:22:44,599 --> 00:22:48,519 a motif for many of Mus's songs. The band combines 275 00:22:48,559 --> 00:22:53,680 bass guitar with effects and synthesizers to create overdriven fuzz 276 00:22:54,160 --> 00:22:57,599 bass tones. You've heard of fuzzy guitar, Well, here we 277 00:22:57,759 --> 00:23:04,279 have fuzz bass tones. Bellamy and Wolstenholme use touchscreen controllers 278 00:23:04,440 --> 00:23:10,240 often built into their instruments, wow, to control synthesizers and effects. 279 00:23:11,440 --> 00:23:15,200 I guess everything's all technology nowadays, a lot of it. 280 00:23:15,359 --> 00:23:16,000 Speaker 10: Kind of crazy. 281 00:23:16,279 --> 00:23:19,599 Speaker 8: Yeah, so that's what I got. 282 00:23:20,400 --> 00:23:23,880 Speaker 4: Very cool. Thank you, prime example of what we're talking 283 00:23:23,880 --> 00:23:27,079 about here, so excellent. All right, thank you, Gil. We're 284 00:23:27,079 --> 00:23:29,119 going to take a real quick break and be back 285 00:23:29,119 --> 00:23:31,640 with more right after this. Don't be a jerk. 286 00:23:32,039 --> 00:23:34,240 Speaker 1: Listen to Hudson River Radio dot Com. 287 00:23:34,480 --> 00:23:37,559 Speaker 9: This concludes the first part of this cassette. Please turn 288 00:23:37,599 --> 00:23:40,039 the cassette over and begin again on side too. 289 00:23:45,279 --> 00:23:49,400 Speaker 6: This is Hudson River Radio dot Com and welcome back. 290 00:23:49,480 --> 00:23:52,799 Speaker 4: We're taking a look at classical influences on rock music 291 00:23:53,039 --> 00:23:55,000 and we are up to Mercedes. So what do you 292 00:23:55,079 --> 00:23:55,559 have for us? 293 00:23:55,759 --> 00:23:55,960 Speaker 10: Oh? 294 00:23:56,880 --> 00:24:01,799 Speaker 9: All right, So this was a funny topic for me. 295 00:24:02,400 --> 00:24:05,039 Speaker 12: I don't know a lot about classical music, so at 296 00:24:05,119 --> 00:24:09,119 first I was a bit baffled until I remembered that 297 00:24:09,279 --> 00:24:12,880 the Alice Cooper group was very influenced by many many 298 00:24:12,920 --> 00:24:17,960 classical pieces. On the Gramophone UK website. In an interview 299 00:24:18,000 --> 00:24:21,880 with Alice, it says there have always been strong He said, 300 00:24:22,480 --> 00:24:26,119 there have always been strong operatic elements in my songs. 301 00:24:26,640 --> 00:24:29,680 Bob Esbren, who produced many of my successful albums and 302 00:24:29,759 --> 00:24:32,119 who also worked with lou Reed, Pink Floyd and a 303 00:24:32,200 --> 00:24:34,720 number of other artists, were classically trained. 304 00:24:35,240 --> 00:24:39,839 Speaker 9: He added a he was classically traded. Did I make 305 00:24:39,960 --> 00:24:40,759 that clear? Yeah? 306 00:24:41,880 --> 00:24:43,960 Speaker 8: It's funny you should say that, because I was going 307 00:24:44,000 --> 00:24:44,519 to ask you. 308 00:24:45,119 --> 00:24:45,319 Speaker 7: Yeah. 309 00:24:45,680 --> 00:24:49,000 Speaker 9: Yeah, Bob Ezred was classically trained. Aw, okay. 310 00:24:49,240 --> 00:24:52,960 Speaker 12: So he added a classical touch to the theatrical ideas 311 00:24:53,000 --> 00:24:57,279 I had my song My songs had rock based chord structures, 312 00:24:57,359 --> 00:25:00,599 but Bob taught us to think classically. He added these 313 00:25:00,640 --> 00:25:03,599 classical touches and it turned our songs into something different. 314 00:25:03,759 --> 00:25:04,279 Speaker 9: I liked it. 315 00:25:04,480 --> 00:25:07,200 Speaker 12: I liked the idea that those things could collide and 316 00:25:07,359 --> 00:25:09,039 create something new and refreshing. 317 00:25:09,720 --> 00:25:11,400 Speaker 9: So, for example, if you look at. 318 00:25:13,039 --> 00:25:16,359 Speaker 12: The song gutter Cat versus the Jets from the School's 319 00:25:16,400 --> 00:25:22,920 Out album, the writers listed are Glenn Buxton, Denstunaway, Leonard Bernstein, 320 00:25:23,640 --> 00:25:28,240 Stephen Sondheim. So Leonard Bernstein composed the music for Westside Story, 321 00:25:28,319 --> 00:25:34,799 which strongly influences the Gutter Cat's Jets song. Stephen Sondenheim 322 00:25:35,000 --> 00:25:38,960 wrote the lyrics my song. It was based on a 323 00:25:39,039 --> 00:25:43,200 piece by Frederick Chopin. He was a Polish composer who 324 00:25:43,319 --> 00:25:47,759 lived from eighteen ten to eighteen forty nine and was 325 00:25:47,880 --> 00:25:51,039 a leading composer of his era. He wrote the piece 326 00:25:52,319 --> 00:25:56,440 fonta si improdue, very good. 327 00:25:56,559 --> 00:25:58,079 Speaker 9: Excellent close. 328 00:26:00,039 --> 00:26:03,960 Speaker 4: You could say fantasy, We're allowed, Okay, We're American, okay. 329 00:26:03,799 --> 00:26:07,480 Speaker 9: Good, thank you. He wrote it in eighteen thirty four. 330 00:26:07,759 --> 00:27:51,039 So let's hear his piece. So this this tune, this 331 00:27:51,279 --> 00:27:53,759 piece went through three transformations. 332 00:27:54,480 --> 00:27:58,440 Speaker 12: You heard the original and later it was adapted by 333 00:27:58,599 --> 00:28:02,160 Harry Carroll and lyrics were written by Joseph McCarthy. It 334 00:28:02,359 --> 00:28:06,119 was introduced in the Broadway show Oh Look, which opened 335 00:28:06,640 --> 00:28:09,359 in March of nineteen eighteen, and was sung in the 336 00:28:09,440 --> 00:28:10,039 show by. 337 00:28:09,960 --> 00:28:10,960 Speaker 9: The Dally Sisters. 338 00:28:11,759 --> 00:28:15,039 Speaker 12: Harry Carrol born in nineteen eighty two began playing music 339 00:28:15,160 --> 00:28:18,119 in movie theaters as a child, and later he worked 340 00:28:18,279 --> 00:28:21,599 as a tin pan alley arranger and as an entertainer. 341 00:28:22,200 --> 00:28:26,680 Oh Look was his first full length musical. Joseph McCarthy 342 00:28:26,759 --> 00:28:30,279 born in eighteen eighty five started singing cafes and went 343 00:28:30,319 --> 00:28:34,839 on to work for music publishers. The song I'm Always 344 00:28:34,960 --> 00:28:39,680 Chasing Rainbows became a popular vaudeville hit. The sheet music 345 00:28:39,799 --> 00:28:43,079 for I'm Always Chasing Rainbows sold more than a million 346 00:28:43,200 --> 00:28:46,720 copies in nineteen eighteen. It would have reached the top 347 00:28:46,799 --> 00:28:50,359 of the charts in nineteen nineteen if the charts had 348 00:28:50,480 --> 00:28:54,400 existed because they didn't have records. They did not yea, 349 00:28:54,920 --> 00:28:57,759 which we talked about on a show a while ago, 350 00:28:58,240 --> 00:28:59,599 So that would have been a big. 351 00:28:59,519 --> 00:29:02,880 Speaker 4: Hit from a big hit. 352 00:29:03,000 --> 00:29:04,279 Speaker 5: Yeah, she music sales. 353 00:29:04,359 --> 00:29:05,000 Speaker 4: That's a big hit. 354 00:29:05,599 --> 00:29:06,440 Speaker 5: That counts. 355 00:29:07,920 --> 00:29:10,279 Speaker 9: From the website Musicology for Everyone. 356 00:29:10,640 --> 00:29:13,400 Speaker 12: Carol McCarthy and others were chatting at the Fires Club 357 00:29:13,480 --> 00:29:17,480 one night when someone remarked, you songwriters are an unpredictable lot. 358 00:29:17,960 --> 00:29:20,279 You're up in the clouds one day, lower than all 359 00:29:20,359 --> 00:29:23,720 hell the next Carol had a quick explanation, you know 360 00:29:23,839 --> 00:29:26,880 why that is, don't you. We're always chasing rainbows, but 361 00:29:26,960 --> 00:29:29,680 we never catch up with them, And somebody remarked that 362 00:29:29,799 --> 00:29:32,240 a song with that title would surely be a hit. 363 00:29:32,880 --> 00:29:35,559 Before the night was finished, McCarthy and Carol had written it. 364 00:29:36,359 --> 00:29:40,880 Tin Pan songwriters frequently barred classical tunes. Carol arranged the 365 00:29:40,960 --> 00:29:44,200 chorus of I'm Always Chasing Rainbows from the middle section 366 00:29:44,440 --> 00:29:53,680 of Chopin's but the see impromptu. It seems that most 367 00:29:53,759 --> 00:29:56,720 of the versions that I heard, and I listened to 368 00:29:56,839 --> 00:29:59,680 quite a few start with them because a lot of 369 00:29:59,680 --> 00:30:04,079 people covered it. They start with the phrase I'm always 370 00:30:04,119 --> 00:30:07,000 chasing rainbows. So when I read the following on the 371 00:30:07,119 --> 00:30:12,200 same musicology website, I had a big smile because I'm 372 00:30:12,200 --> 00:30:17,480 an Alice Cooper fan, and numerous singers and instrumentalists have 373 00:30:17,640 --> 00:30:21,279 performed and recorded the song over the years. Alice Cooper 374 00:30:21,599 --> 00:30:24,720 this was a quote from the website. Alice Cooper at 375 00:30:24,880 --> 00:30:30,200 least sang the verse. So listen carefully to the first 376 00:30:30,319 --> 00:30:34,200 eight lines. They are so quick, Essentially Alice, he didn't 377 00:30:34,240 --> 00:30:37,079 write them, but they were made for him. 378 00:30:37,480 --> 00:30:40,720 Speaker 9: So let's hear the Alice Cooper version at the. 379 00:30:41,000 --> 00:30:42,519 Speaker 10: End of the rainbow. 380 00:30:42,720 --> 00:30:49,240 Speaker 1: That's happiness, and to find it how often not try? 381 00:30:51,480 --> 00:30:55,200 But my life is a raised, just a wild Those 382 00:30:55,359 --> 00:31:03,359 chairs and my dreams have been denied. Why have I 383 00:31:03,559 --> 00:31:05,119 always been a feel y'all? 384 00:31:06,920 --> 00:31:08,960 Speaker 10: What can the read and read? 385 00:31:11,519 --> 00:31:13,799 Speaker 1: I wonder if the world's to man? 386 00:31:16,079 --> 00:31:27,680 Speaker 10: I wonder if it could be chance? 387 00:31:32,680 --> 00:31:44,559 Speaker 1: What chance? 388 00:31:53,440 --> 00:31:53,799 Speaker 9: Scott? 389 00:32:47,359 --> 00:32:49,799 Speaker 8: Yeah, very cool? 390 00:32:50,640 --> 00:32:51,079 Speaker 3: I like that. 391 00:32:52,359 --> 00:32:52,400 Speaker 13: So. 392 00:32:52,559 --> 00:32:55,440 Speaker 12: Judy Garland sang it in the film Sigfield Girl with 393 00:32:55,599 --> 00:32:59,079 Lana Turner and Hetty Lamar. Alice Fay recorded it for 394 00:32:59,200 --> 00:33:01,720 one of her films, but it was never used. It 395 00:33:01,839 --> 00:33:04,519 was recorded by A Liberaci and Dinah Shore in nineteen 396 00:33:04,599 --> 00:33:08,799 sixty three. It was also sang by Harry James, Neil Sidaka, 397 00:33:09,000 --> 00:33:13,759 Perry Como, Guy Lobardo, Tony Bennett, Henry burb Bing Crosby, 398 00:33:14,839 --> 00:33:19,400 Benny Goodman, Al Jolson, Frank Sinatra, Sammy Davis Junior, Tony Martin, 399 00:33:19,640 --> 00:33:24,480 Joe Stafford, and John Ray and also Mandy Pittankin from 400 00:33:24,519 --> 00:33:27,079 a very old clip from a TV talk show that 401 00:33:27,279 --> 00:33:34,759 was really big surprise for me. Oh and Puddle, Yes, 402 00:33:37,759 --> 00:33:39,559 and Puddle's pity party. 403 00:33:40,480 --> 00:33:43,400 Speaker 4: Ah the best there we go yep yeap. 404 00:33:45,000 --> 00:33:49,680 Speaker 9: But Alice sang the verse nice. 405 00:33:51,759 --> 00:33:53,359 Speaker 5: Thanks, all right, that's a good one. 406 00:33:54,200 --> 00:33:56,799 Speaker 4: So yeah, I'm glad we played the beginning of show 407 00:33:56,839 --> 00:33:59,000 pans so between the tacata and fugue, which I think 408 00:33:59,039 --> 00:34:02,160 most people would RECOGNI and associated with Halloween address and 409 00:34:02,240 --> 00:34:05,359 then chopin that may have sounded familiar to many of 410 00:34:05,759 --> 00:34:09,199 us of a certain age who grew up being exposed 411 00:34:09,239 --> 00:34:12,639 to classical music through Tom and Jerry and Looney Tunes 412 00:34:12,760 --> 00:34:15,360 and that kind of stuff, which is an excellent way 413 00:34:15,480 --> 00:34:17,960 to kind of ease into it because they play the 414 00:34:18,000 --> 00:34:20,679 good stuff when Tom is sitting there playing the piano 415 00:34:20,719 --> 00:34:23,679 and Jerry's just messing with him. Great way to start, 416 00:34:23,800 --> 00:34:26,840 so highly recommended. All right, we're gonna take another quick 417 00:34:26,880 --> 00:34:28,559 break and be back with more right after. 418 00:34:28,400 --> 00:34:30,920 Speaker 7: This Hudson Riverradio dot com. 419 00:34:37,280 --> 00:34:40,440 Speaker 1: Hudson Riverradio dot com. 420 00:34:42,239 --> 00:34:44,880 Speaker 4: And we're back, and we are up to the professor himself, 421 00:34:45,320 --> 00:34:48,840 mister Richter. You know it's gonna be good when it's Neil. 422 00:34:49,039 --> 00:34:50,519 Speaker 7: So what do you have for us? 423 00:34:51,000 --> 00:34:53,639 Speaker 6: Well, you know the saying, you know, I may be old, 424 00:34:53,800 --> 00:34:56,639 but I got to see all the classic rock bands. 425 00:34:57,079 --> 00:34:59,800 Well that may or may not be true with me, 426 00:35:00,000 --> 00:35:04,880 But have I got a classic classical rocker for you. Now, 427 00:35:04,920 --> 00:35:06,960 this is going to be a little convoluted, so you know, 428 00:35:07,119 --> 00:35:12,199 hang on, tight, buckle up. The modern song, the modern 429 00:35:12,440 --> 00:35:15,639 rock era song, the rock and roll era song that 430 00:35:15,760 --> 00:35:19,519 I picked is called nut Rocker by b Bumble and 431 00:35:19,639 --> 00:35:24,840 the Stingers. Now, let's talk about that. That the Bumble 432 00:35:25,079 --> 00:35:29,920 and the Stingers. We're an American instrumental ensemble that specialized 433 00:35:29,920 --> 00:35:34,280 in rock and roll arrangements of classical songs and melodies. Now, 434 00:35:34,360 --> 00:35:37,239 in nineteen fifty nine, a bunch of studio session guys, 435 00:35:37,400 --> 00:35:41,119 a bunch of studio musicians. They are in the house 436 00:35:41,239 --> 00:35:46,400 band for a place called Rendezvous Records, studio for Rendezvous, Yeah, 437 00:35:46,760 --> 00:35:52,920 Rendezvous Records, who are located or were located in Los Angeles, California. Well, 438 00:35:52,960 --> 00:35:55,079 they got together and they were sitting around thinking, well, 439 00:35:55,199 --> 00:35:58,719 how can we make some you know money, But you know, 440 00:35:58,880 --> 00:36:00,679 not have to go go out and do it. We 441 00:36:00,760 --> 00:36:04,320 could just do it here in the studio. So they 442 00:36:04,360 --> 00:36:06,320 came up with an idea, and that was to record 443 00:36:06,400 --> 00:36:10,119 a rock version of the song in the Mood, which 444 00:36:10,320 --> 00:36:14,480 was a popular big band era jazz standard, probably most 445 00:36:14,599 --> 00:36:19,239 famously recorded by Glenn Miller back in nineteen thirty nine. Now. 446 00:36:19,320 --> 00:36:22,199 They recorded this the rock version and released it under 447 00:36:22,239 --> 00:36:25,360 the name of the Ernie Fields Orchestra. I don't know 448 00:36:25,400 --> 00:36:28,199 who Ernie Fields was or his orchestra, but that's what 449 00:36:28,320 --> 00:36:31,599 they called themselves, and it actually reached number four on 450 00:36:31,679 --> 00:36:36,559 the US pop charts in early nineteen sixty so they were, hm, 451 00:36:36,880 --> 00:36:41,320 we're on to something. So following that success, they switched 452 00:36:41,320 --> 00:36:43,440 their name over to be Bumble and the Stingers in 453 00:36:43,559 --> 00:36:48,599 nineteen sixty one, and under the guidance of legendary record 454 00:36:48,679 --> 00:36:53,119 producer and infamous record producer I should say, Kim Fowley, 455 00:36:53,719 --> 00:36:56,719 who had recently recorded a number one novelty song called 456 00:36:56,840 --> 00:37:01,840 Ali Oop with another studio band called the Hollywood Argyles 457 00:37:02,280 --> 00:37:05,800 and would later go on to discover The Runaways with 458 00:37:06,159 --> 00:37:10,960 Joan Jet in the mid seventies. Anyway, this group b 459 00:37:11,199 --> 00:37:15,079 Bumble gave the same treatment to a piece of classical music, 460 00:37:15,559 --> 00:37:18,679 and in this case it was Rimsky Korsakov's Flight of 461 00:37:18,760 --> 00:37:20,920 the Bumblebee, which I'm sure you all know if you've 462 00:37:21,280 --> 00:37:25,480 watched The Green Hornet. But they called this the Bumble Boogie. 463 00:37:26,679 --> 00:37:28,239 Speaker 10: Love it Now. 464 00:37:28,320 --> 00:37:31,280 Speaker 6: Bumble Boogie reached number twenty one on the US charts 465 00:37:31,599 --> 00:37:36,239 that same year, so they tried to keep it going. 466 00:37:36,840 --> 00:37:40,039 Shortly after that, Falley had secured the copyright to an 467 00:37:40,119 --> 00:37:46,639 arrangement to the march of Tchaikowski's eighteen ninety two ballet 468 00:37:47,119 --> 00:37:52,840 The Nutcracker. Tchaikowski who lived between eighteen forty and eighteen 469 00:37:52,960 --> 00:37:56,320 ninety three and whose first name I cannot for the 470 00:37:56,400 --> 00:37:57,840 life of me pronounced. 471 00:37:57,679 --> 00:38:06,800 Speaker 14: Peter Okaykowski, good old Pete. Yeah, he was a Russians fine. 472 00:38:08,960 --> 00:38:13,000 He was a Russian composer during the nineteenth centuries Romantic period, 473 00:38:13,280 --> 00:38:16,400 and he was the first Russian composer to achieve lasting 474 00:38:16,480 --> 00:38:20,920 success around the globe. And some of his other popular 475 00:38:21,000 --> 00:38:27,679 and best known works include Swan Lake, Quack Quack Quack, 476 00:38:30,239 --> 00:38:33,599 and the eighteen twelve eighteen twelve Overture. 477 00:38:35,400 --> 00:38:35,760 Speaker 9: Boom. 478 00:38:36,400 --> 00:38:40,599 Speaker 6: That's how you've all known that. So why don't we 479 00:38:40,679 --> 00:38:47,039 give a listen to right now Chaikowski's march from The Nutcracker? 480 00:39:36,199 --> 00:39:38,719 All right, so you get the gist of that. So anyway, 481 00:39:39,159 --> 00:39:42,400 Fowley had taken an arrangement of this and he rocked 482 00:39:42,400 --> 00:39:46,320 it up, and he called it not Rocker. But by 483 00:39:46,360 --> 00:39:51,199 this time, after a couple of less than successful singles 484 00:39:51,280 --> 00:39:54,719 and releases by our friends be Bumble and the Stingers. 485 00:39:54,840 --> 00:39:58,239 Rendezvous Records had kind of lost interest in them, and 486 00:39:59,400 --> 00:40:01,840 you know said, now, well, you know, don't call us, 487 00:40:02,280 --> 00:40:09,639 We'll call you, but ire intrepid Kim Fallely said, well, 488 00:40:10,119 --> 00:40:13,440 I'll just take it to another studio with a bunch 489 00:40:13,480 --> 00:40:17,000 of other studio musicians and he recorded it and that 490 00:40:17,199 --> 00:40:25,880 was under the name of Jack B. Nimble and the Quicks. Anyway, 491 00:40:27,119 --> 00:40:29,400 this got back to the head of Rendezvous Records who 492 00:40:29,480 --> 00:40:32,800 heard it and he was like, whoa wait a minute, 493 00:40:32,840 --> 00:40:36,760 and he convinced Fali that they Rendezvous could do a 494 00:40:36,840 --> 00:40:41,199 better job with their studio band, which was be Bumble 495 00:40:41,280 --> 00:40:45,920 in the Stingers. So back to Rendezvous it was now 496 00:40:46,039 --> 00:40:48,559 Nut Rocker by B. Bumble in the Stingers was released 497 00:40:48,599 --> 00:40:50,800 in February of nineteen sixty two and it went to 498 00:40:50,880 --> 00:40:54,760 number twenty three in the US and was a smash 499 00:40:54,920 --> 00:42:52,719 in the UK, hitting number one. So okay, nuts, all right, 500 00:42:52,880 --> 00:42:55,320 that's that kind of rocks if you ask me, it does. 501 00:42:55,519 --> 00:42:58,440 Speaker 4: That's that's that was so cute. That's a fast march, 502 00:42:58,599 --> 00:42:59,280 that's a trot. 503 00:43:01,480 --> 00:43:05,559 Speaker 6: I like it. Well. After B Bumble and the Stingers 504 00:43:05,639 --> 00:43:09,719 recordings became successful, they actually got together a touring group 505 00:43:09,800 --> 00:43:12,880 of different musicians and they would go out and play 506 00:43:12,920 --> 00:43:17,280 it live. So their dream of just recording in the 507 00:43:17,320 --> 00:43:22,360 studio came true. And just a side note, the other 508 00:43:22,519 --> 00:43:25,519 version that was recorded by Jack be Nimble and the Quicks. 509 00:43:27,480 --> 00:43:31,760 That label released that version of it too, seeing that 510 00:43:31,880 --> 00:43:34,519 this had been and it bombed, So there you go. 511 00:43:35,159 --> 00:43:35,400 Speaker 7: Wow. 512 00:43:37,960 --> 00:43:41,159 Speaker 6: Now, at the time that the original release came out 513 00:43:41,199 --> 00:43:44,400 in the UK of b Bumble and the Stingers, the 514 00:43:44,519 --> 00:43:49,400 BBC had a policy of banning records that parodied classical music. 515 00:43:50,360 --> 00:43:53,000 Why I don't know, but that's the BBC for you. 516 00:43:53,719 --> 00:43:57,519 But after careful consideration they decided that nut Rocker would 517 00:43:57,519 --> 00:44:03,079 not offend quote any reasonable and therefore was not banned. 518 00:44:03,239 --> 00:44:05,840 And it was a good thing because it went, as 519 00:44:05,880 --> 00:44:10,119 I said, right to number one. It was also used 520 00:44:10,239 --> 00:44:13,400 as the theme song for the Boston Bruins ice hockey 521 00:44:13,519 --> 00:44:17,880 TV broadcasts back in the nineteen seventies and eighties. It 522 00:44:18,000 --> 00:44:21,239 was a favorite when performed live by Prague rockers Emerson, 523 00:44:21,320 --> 00:44:23,679 Lake and Palmer, who released it as a single in 524 00:44:23,760 --> 00:44:27,880 nineteen seventy two. That single reached number seventy on the 525 00:44:28,000 --> 00:44:30,920 US Billboard Hot one hundred, and it was also included 526 00:44:30,960 --> 00:44:35,480 on ELP's third album called Pictures at an Exhibition, which 527 00:44:36,199 --> 00:44:39,960 kind of featured a whole bunch of reworked classical songs 528 00:44:40,800 --> 00:44:46,599 into a rock sound and a pretty interesting record. And finally, 529 00:44:47,599 --> 00:44:51,199 in two thousand and nine, the Trans Siberian Orchestra released 530 00:44:51,199 --> 00:44:55,280 a version of nut Rocker and it featured ELP's Greg 531 00:44:55,400 --> 00:44:59,159 Lake on it. So there you go, rock on you nuts. 532 00:45:00,920 --> 00:45:02,360 Speaker 4: Yep, that's going to go on the playlist. 533 00:45:04,480 --> 00:45:05,559 Speaker 7: It's such a fun song. 534 00:45:05,760 --> 00:45:06,000 Speaker 6: It is. 535 00:45:06,280 --> 00:45:08,400 Speaker 10: It is totally very cool. 536 00:45:08,559 --> 00:45:10,280 Speaker 4: Well, I thought we could wrap up this week with 537 00:45:10,360 --> 00:45:12,840 a really short one just to kind of cap off 538 00:45:12,920 --> 00:45:15,679 part one. You guys have all heard of a guy 539 00:45:15,760 --> 00:45:20,199 named Elvis Presley. Yeah, okay, So in nineteen sixty one 540 00:45:20,280 --> 00:45:23,480 he was in a movie called Blue Hawaii. A hit 541 00:45:23,559 --> 00:45:27,119 song from that can't Help Falling in Love, which I'm 542 00:45:27,159 --> 00:45:29,320 sure we all know, but if you don't, I'm going 543 00:45:29,360 --> 00:45:31,599 to play a clip of it. Well. The melody in 544 00:45:31,599 --> 00:45:33,920 the chord progression of Can't Help Falling in Love was 545 00:45:33,960 --> 00:45:37,280 taken from a French love song called I Don't Speak 546 00:45:37,320 --> 00:45:38,159 French plus. 547 00:45:38,000 --> 00:45:38,960 Speaker 10: Here de A Moore? 548 00:45:39,239 --> 00:45:44,360 Speaker 4: Am I close? Oh I've sung that okay, written by 549 00:45:44,960 --> 00:45:48,960 Jean Paul Martini in seventeen eighty four. So yeah, two 550 00:45:49,039 --> 00:45:52,000 hundred and fifty years later it came back. It happened 551 00:45:52,000 --> 00:45:54,679 to be the last song that Elvis Presley performed live 552 00:45:55,039 --> 00:45:58,400 at his final concert in Indianapolis on June twenty sixth, 553 00:45:58,519 --> 00:46:01,840 nineteen seventy seven, and he died that following August. So 554 00:46:02,440 --> 00:46:04,320 if you're not familiar, let me play just the first 555 00:46:04,480 --> 00:46:06,519 verse of Can't help Falling in Love by Elvis? 556 00:46:10,559 --> 00:46:31,079 Speaker 7: What is well, say only food, but uh can fall in. 557 00:46:33,960 --> 00:46:39,639 Speaker 5: With show? 558 00:46:40,599 --> 00:46:44,519 Speaker 4: All right, so everybody recognizes that, right, So let me 559 00:46:44,599 --> 00:46:47,320 play the beginning of plas air de amore. 560 00:46:47,440 --> 00:46:47,840 Speaker 5: See if. 561 00:46:49,360 --> 00:46:53,440 Speaker 4: That's what I said? Just differently, So let me play 562 00:46:53,480 --> 00:47:22,159 the beginning. See if this sounds familiar? A little bit 563 00:47:22,199 --> 00:47:23,480 of an influence there, right. 564 00:47:24,119 --> 00:47:26,760 Speaker 9: Yeah, it almost sounds like a music box with one 565 00:47:26,800 --> 00:47:31,480 of those ballerinas. Yeah, it does absolutely of the Elvis song. 566 00:47:33,119 --> 00:47:35,320 Speaker 4: Well, that one came first, don't forget Elvis was later. 567 00:47:37,880 --> 00:47:40,519 All right, Well, I think that's a good one to 568 00:47:40,679 --> 00:47:44,880 end on and give everybody a break. Everybody's got homework. 569 00:47:44,960 --> 00:47:47,679 They have to go watch Looney Tunes and watch Tom 570 00:47:47,760 --> 00:47:48,480 and Jerry and all. 571 00:47:48,400 --> 00:47:49,480 Speaker 5: The cards that watch bugs. 572 00:47:49,519 --> 00:47:54,280 Speaker 4: Bunny conduct the orchestra because yeah, twist my arm right. 573 00:47:54,280 --> 00:47:54,840 Speaker 10: I agree? 574 00:47:55,760 --> 00:47:58,280 Speaker 13: Can I tell you? Lately, for some reason, I've been 575 00:47:58,320 --> 00:48:00,719 getting a lot of Looney tunes and I still media. 576 00:48:00,599 --> 00:48:03,280 Speaker 5: Feed mm hm, nothing wrong with that. 577 00:48:04,239 --> 00:48:07,760 Speaker 13: Yeah, I get completely lost and old bugs bunnies and 578 00:48:08,679 --> 00:48:11,199 oh my god when bugs are playing the banjo and 579 00:48:11,320 --> 00:48:15,079 the opera singers trying to practice class the opera singer 580 00:48:15,159 --> 00:48:19,440 when he's on the oh my god, bring deliveries. 581 00:48:19,679 --> 00:48:20,360 Speaker 5: Cannot beat it. 582 00:48:20,440 --> 00:48:22,000 Speaker 4: So you have a week to go catch up on 583 00:48:22,079 --> 00:48:24,480 your Looney tunes and Tom and Jerry's and we're going 584 00:48:24,559 --> 00:48:27,000 to be back next week with more. So as always, 585 00:48:27,039 --> 00:48:29,760 thank you Crambones, excellent selection so far, and thank you 586 00:48:29,840 --> 00:48:31,840 all for joining us for the Rock and Roll History Show. 587 00:48:32,199 --> 00:48:34,599 Don't get to subscribe in your favorite podcast app and 588 00:48:34,719 --> 00:48:36,480 check out all the other shows we do hear outs 589 00:48:36,519 --> 00:48:37,119 in River Radio. 590 00:48:37,239 --> 00:48:38,519 Speaker 5: There is something for everybody. 591 00:48:39,000 --> 00:48:41,039 Speaker 4: We'll be back with a little bit more classical, but 592 00:48:41,119 --> 00:48:44,000 don't worry, we won't hurt your brain too much until then. 593 00:48:44,119 --> 00:48:46,039 Have a great weekend and peace out everybody. 594 00:48:49,679 --> 00:48:50,800 Speaker 2: Rock cop Bottom. 595 00:48:53,800 --> 00:48:55,000 Speaker 8: Okay, Bye bye. 596 00:48:56,679 --> 00:49:01,280 Speaker 4: Pudson River Radio dot com A Subsidiaria Sus Entertainment LLC. 597 00:49:01,719 --> 00:49:04,760 Speaker 5: Potentially successful. 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