The Twelve Variations by Wolfgang Amadeus Mozart…Composition #27/50: Keepin’ It Classy

A young Mozart at Versailles.

For a short while during the 1700s, Wolfgang Amadeus Mozart lived in Paris, France. Like many who had come to live there before him, Mozart was inspired by the culture of the French people. In particular, he was delighted by a simple French folk song entitled “Ah! Vous dirai-je, Maman”. The melody of this folk song is universally recognized as the foundation of three classic children’s songs: “Baa, Baa, Black Sheep”, “Twinkle, Twinkle Little Star” and the “ABC song”. If you sing each song in your head, you will notice that the melody is exactly the same for each song and that, not only that, you can interchange the lyrics from one song to the other without losing any of the melodic flow at all.

What Mozart did with this folk song is something in music known as theme and variation. What that means is that a composer such as Mozart will begin the composition with a standard set piece of music which will be played in its entirety. This is known as the theme. Then, the composer will replay that original set piece but alter it in one specific way each time. This is known as the variation. In the specific case of “Ah! Vous dirai-je, Maman”, Mozart played the original “Twinkle, Twinkle” version as the theme and then altered it in twelve ways (such as rhythmically, melodically, harmonically, by changing the timbre, the orchestration and so on). By creating these twelve variations, Mozart was showing other composers, as well as his audience, that it was possible to take a well-known composition and present it in original and imaginative ways that all created something new and fresh while, at the same time, maintaining the integrity of the foundational piece. By doing so, Mozart declared that it was within the realm of possibility to re-imagine the entire scope of all music created by humans up until that time.

Needless to say, Mozart’s ideas were often of a revolutionary nature that didn’t always work in harmony with the existing structured mindset possessed by many composers at the time. Mozart lived during a time period in which classical compositions were supposed to fit a certain mold. He found these expectations too restrictive and, as a result, often took delight in tweaking the noses of the musical establishment, as it were, by creating pieces such as his Twelve Variations. By insisting to the authorities at the various royal courts that he frequented that it was possible to alter existing works in ways that were exciting and new and yet still sounded like the original work, he was forcing them to accept the notion that the rules of musical composition weren’t set in stone. Granting future composers the freedom to experiment with musical form was one of the most important legacies that Mozart left behind after his death. He accomplished this in part because of his Twelve Variations on “Ah! Vous dirai-je, Maman”.

The Twelve Variations scene from the Your Lie In April anime.

One of the things I enjoy about the research I do into the stories of these musical pieces is that sometimes something unexpected pops up which takes me in a whole new direction. One such instance of this occurred during my research into the Twelve Variations. While listening to this work on YouTube, I kept reading listener comments that stated something along the lines, “Who else is here because of Your Lie In April?” I had no idea what Your Lie In April was so I went down the rabbit hole and began researching that topic. Here is what I found. In Japan, there is a very popular art form known as Manga. For lack of a better comparative term, Japanese manga translates roughly the same as North American comic books. We might simply call that form of artistic expression as being “comics”. In Japan, they call it “manga”. So anyway, in Japan there was a manga series that was based upon music. That series was called Your Lie in April. The series was released in serial form, meaning one chapter at a time. The story involved a child prodigy who was an award-winning pianist. This child was driven by his mother to attain a level of perfection that made his stage presence and his playing almost seem robotic. Despite that, he inspires a young girl to take up the violin. She does so with dreams of one day playing on stage with the young man. Eventually the two meet and become friends. Then, a tragedy happens. The mother of the pianist dies from an illness. The boy finds that he can no longer hear the piano when it plays, and he lapses into a form of depression because his gift appears to have been taken from him just as his mother was. The young girl seeks to nurture his soul back so that he will attempt to perform again and that she can do it with him. I won’t spoil the ending by giving it away, but Your Lie In April had a very emotional ending, to say the least.

Because the manga was about music but was in two-dimensional book form, many felt as though something was missing. So, an animé (or, live action animated version) of the manga was created for television. It aired in episodic fashion in Japan a few years ago. Because the story was being told like a movie now, all of the classical music that the pianist and his violinist friend were practicing and performing could be played aloud in the animé. On episode #3 of the series, the pianist’s mother had just died and he was discovering that he couldn’t play the piano anymore. The young girl was trying to cheer him up in a café. Suddenly, two young children begin to play Mozart’s Twelve Variations on a piano located in the café. (Remember, the tune is just “Twinkle, Twinkle”). The violinist asks her friend if he can hear those notes and guides him over to where the little girls are playing. They recognize him as being the famous child prodigy they had seen on TV and ask him to play with them. With encouragement, he begins to play for the first time since his mother had passed away, only to find the notes are elusive and he cannot even play “Twinkle, Twinkle” anymore. This scene can be viewed by clicking here.

I have always believed in the power of creativity. The act of creating something out of nothing is absolutely exhilarating! Whether it is me with the blank screen that appears before me as I begin each post or a chef who gathers the ingredients that will combine to make a feast or a composer who takes a blank sheet of paper and fills it with squiggles that play as melodies, being able to create something new and original that may bring pleasure to others is what motivates me and so many others to do what we do each day of our lives. It was what motivated a creative genius like Mozart to explore and surpass the boundaries of what was possible during his lifetime in the world of classical composition. It is, also, the loss of that creative ability that quickly drained the joy away from the young pianist in the animé Your Lie In April. Being a creator is important. So, give your children crayons and blank paper, along with the colouring books with pre-drawn pictures. Let them make their marks and tell their stories accordingly. Our imagination is one of the most precious aspects of ourselves, along with our hearts and needs to be protected and nurtured and unleashed as required. Just as we do by exercising to keep our bodies healthy, take some time today (and every day) for a little play time. It will do wonders for your imagination and it will do wonders for your soul. Now that you have read this post….go and play! Have some fun! I will see you again next time with a whole new story. Until then, take care. Bye for now.

The link to the video for the composition “The Twelve Variations” by Wolfgang Amadeus Mozart can be found here.

The link to the official website of the Mozart Museum can be found here.

The link to the world’s best classical music radio station…Classical 103.1…which broadcasts from my hometown of Cobourg, Ontario, Canada can be found here.

***As always, all original content contained within this post remains the sole property of the author. No portion of this post shall be reblogged, copied or shared in any manner without the express written consent of the author. ©2023 http://www.tommacinneswriter.com

The Bliss by Volbeat…Song #22: Reader’s Choice

Way back in the day when I first put out a call for submissions for my Reader’s Choice series, one of the entries I got back was today’s song, “The Bliss” by Volbeat. The nomination came from a former student of mine. Among the best things about being a teacher are the personal connections that you are fortunate enough to be able to make with students and their families. In the case of Livy Lu (as she is known on social media), I not only got a chance to meet a terrific student and person, but I also got to work alongside her aunt (who was a fellow staff member). As well, Livy’s father, Jay, came along as a parent volunteer on class trips and her grandmother was often the one who picked her up after school, so I got to know most of Livy Lu’s family fairly well. Once I retired from teaching, I came across Livy Lu’s aunt and dad on social media and was encouraged by them to stay in touch. Eventually, Livy Lu, herself, grew old enough to make contact with. I have thoroughly enjoyed being connected to Livy Lu and her family because they are all nice people, but more than that, I like them because they are all into music. Over the course of the past few years, I have had a front row seat to the birth of a new local band. Jay, his brother, his brother-in-law and one other friend named Rocky joined together in Jay’s basement to form a band called Nitetime Drive. In the time since they first started posting their jam sessions, the band has released a CD of original rock n’ roll music, they have played their first paid gigs in small local music venues and now have reached the point where they recently found themselves opening on a bill at the famous El Mocambo nightclub in Toronto. Through it all, Livy Lu has posted her own favourite songs on social media, has learned to play several instruments and has produced several excellent videos that showcase her father’s band. It has been an absolute pleasure to watch Livy Lu and her family grow and develop their love of music, turning it into something tangible like a real live band. And speaking of real live bands, let’s talk about Livy Lu’s nominated band, Volbeat.

Rob Caggiano, Michael Poulsen, Jon larsen (on drums) and Kaspar Boye Larsen (VOLBEAT) at Rock Am Ring 2016 in Mendig (Germany)

Volbeat is a Danish band. They have been together for over a decade now. Initially, the core members of Volbeat were in a Danish death metal band called Dominus. Eventually, the death metal scene grew tiresome so lead singer Michael Poulsen left to form a new band that could play a wider range of music. His new band became Volbeat. Volbeat got its name from the title of Dominus’ final album called Vol. Beat. As Volbeat started out, they played a combination of heavy metal, hard rock, regular rock and some rockabilly, too. Because the members of Volbeat were already familiar to music lovers in the Danish music scene, Volbeat got a boost right off the bat when they released their debut album. Sales were solid for this band who ended the year being named Best New Metal Band in Denmark. Like many new bands, Volbeat paid their musical dues by opening for other like-minded but more established acts such as Metallica, Slayer, Anthrax and others as they toured Europe. The connections Volbeat made as a result of these touring opportunities allowed them to grow their own base, and subsequently, it gave them the freedom to experiment with musical styles and broaden the range of music they were writing and playing for audiences. This resulted in a song that was released in two versions. First, it was released in Danish and was called “For Evigt” (which means “forever”). Then, the same song was released in English and was called “The Bliss”.

“The Bliss” is a pure rock song. It has lots of guitars and a strong vocal presence by Poulsen. The song was written by Poulsen about his feelings surrounding his new girlfriend. “The Bliss” speaks to those mysterious powers of attraction that seem to exist between two people that cannot be logically explained. There is a power to the intensity of the connection being made that, at times, can be exhilarating and frightening at the same time. But, one thing for sure, that feeling is always memorable and remains with you forever, which is what “The Bliss” is all about. Volbeat are much loved in their homeland (even a cursory glance at the comments that accompany this song will bear this out). “The Bliss” has become a song that is played for lovers, but, as well, it is played for those for whom a loving relationship exists such as between parents and their family, thus it is not uncommon for “The Bliss” to be played at funerals, too.

Nitetime Drive: Jay, Rocky, Mike and Marc

All in all, Volbeat stands as yet another example of a local band creating music from their hearts and, as a result, they are building strong bonds with their audience. I am grateful to Livy Lu for allowing me to be a fly on the wall of her life and, as part of this, to be able to watch as she and her own family enjoy their own musical journey with their band, Nitetime Drive. 2023 began with an appearance at the El Mocambo. Who knows where it may end up? But, one thing is for sure, as long as they continue to create music from the heart and play with passion on stage every night, Nitetime Drive will discover that their audience will follow them wherever they go, too, just like Volbeat has done in Denmark. A second thing I can confidently predict is that my pal, Livy Lu, will be there to witness it all. I look forward to seeing how it all turns out. Livy Lu, I wish you and your family all the best in the year to come. May all of your musical dreams come true.

The link to the video for the song “The Bliss” by Volbeat can be found here. ***Lyrics version is here.

The link to the official website for Volbeat can be found here.

The link to the official website for Nitetime Drive can be found here.

The link to the video for the song, “Dirty Little Angel” by Nitetime Drive (their first ever music video!!!) can be found here.

***As always, all original content contained within this blog post remains the sole property of the author. No portion of this post shall be reblogged, copied or shared in any manner without the express written consent of the author. ©2023 http://www.tommacinneswriter.com

Today’s/Tomorrow’s Top 40: January, 2023

In today’s post I am going to be featuring three songs that are currently charting around the world and three songs that are hot off of the presses and may turn into the chart-topping songs of tomorrow. So, let’s get started with three of the hottest songs in the world.

TOP OF THE CHARTS

Pointless: Lewis Capaldi

Lewis Capaldi

Lewis Capaldi is a Scottish-born singer who burst onto the world music scene in 2019 with the monster hit song “Someone You Loved”. This song helped Capaldi win the Brit Award for Best New Artist, as well as having the song nominated for Song of the Year in England as well as in the U.S. Lewis Capaldi has a new album coming out in the spring time and is presently pre-releasing singles in advance of his album coming out. The first single is a song called “Pointless”, and let me tell you, it is the first song of 2023 to be mentioned as a potential Song of the Year candidate for this year. It is a four-tissue tear-jerker of a song about a mother’s love for her son. Capaldi insists that the song is not biographical but one has to wonder. The video for this song plays like a home video from my own life. So many of the moments that he alludes to and captures on film are exactly right based upon my own recollections of being loved by my own mom. In a morbid sort of way, I predict that, from this point onward, “Pointless” will become the #1 song played at funerals for mothers. If you are a mother of a son or sons, or if you are a son with a loving mother, this song was written expressly for you. As you read these words, “Pointless” by Lewis Capaldi is #1 on the BBC Radio 1 charts. ***Lyrics video is here.

Anti-Hero: Taylor Swift

The “real” Taylor Swift learning to live with the “celebrity image” that she portrays when on brand, as seen in her Anti-Hero video.

Taylor Swift’s latest album, Midnights, dropped just prior to the Christmas shopping season. In press releases that accompanied the release of this new album, Taylor Swift said that each song on the album reflected some part of her life in which there were problems, fears, questions or concerns that kept her awake at night. The album has been well-received by fans and critics alike, with the song “Anti-Hero” being the one most are pointing to as being the best track. In literature or the movies, an anti-hero is a character caught somewhere in the netherworld between heroes and villains. An anti-hero often seems to possess the desire to act in a villainous manner, but in the end behaves in a good way. For Taylor Swift, this song is about the nature of living a life under the weight of being a celebrity. Swift claims that her life is actually different from her image, but that it is difficult to just be herself when her every move is scrutinized to such a tremendous extent that she can barely breathe. I have stated in previous posts that I harbour not a single ounce of envy for those living in the glare of the spotlights. It may seem glamorous on the surface, but as someone who values privacy and freedom of movement and calmness, having my every utterance analyzed would be almost unbearable. “Anti-Hero” is Taylor Swift’s musical declaration that she finds being the living embodiment of her own brand is growing wearisome and that she longs to live a normal life. As you read these words, “Anti Hero” has been a #1 song in the U.S. and remains in the Top Ten of many charts around the world. ***Lyrics version is here.

Sza: Kill Bill

Sza

Sza (pronounced SIZ-a) is a female Hip Hop singer. She has had much success over the past few years but really has a hit on her hands with the song “Kill Bill”. This song was inspired by the Quentin Tarantino movies Kill Bill and Kill Bill Vol. 2 that starred Uma Thurman as a revenge-seeking woman who is determined to bring her ex-lover to justice no matter who stands in her way. As is customary from Tarantino, both Kill Bill movies were very violent. That sentiment that equates violence to Art is at play in Sza’s song. In her song, “Kill Bill”, Sza is a spurned lover who seeks to kill the girlfriend of her ex-boyfriend because her love for him is just too strong to ignore. Sza is being praised by fans and critics for creating a song that displays such honest emotions. Have a listen to this song for yourself and see if you agree that killing in the name of love is a praise-worthy accomplishment. As you read these words, “Kill Bill” by Sza is the #1 song on Billboard, Spotify and KEXP-FM charts, as well as a Top Ten song on most charts around the world. ***Lyrics version is here.

NEW ALBUM RELEASES

Living On Mercy by Dan Penn

In a recent post *(which you can read here) I wrote about Dan Penn and the important role he played as a songwriter at the Muscle Shoals studio in Alabama during the 1960s and 70s and how he had contributed to the launch of the genre of music called blue-eyed soul. What I didn’t really do is give the man his due as a performer in his own right. I wish to correct that oversight here and now. Dan Penn has written some of the most important and recognizable songs in the history of modern music and has written for everyone from Aretha Franklin to Wilson Pickett on to Janis Joplin, Percy Sledge, Hank Williams Sr., Sam and Dave, Ronnie Milsap, Faron Young, Albert King, Nick Lowe and many more. But, as much as Dan Penn is respected as a songwriter for hire, he is equally respected for producing excellent albums of his own. Just as the pandemic was getting underway in 2020, Penn released an album called Living On Mercy, which contained a series of restrained Soul-influenced songs that tap into the wisdom of a man who has seen and done much in his eighty years on this planet. The lyrics track can be listened to here.

This Stupid World by Yo La Tengo

Yo La Tengo

In a previous post *(which you can read here) I wrote about Yo La Tengo being one of the most adored and respected alternative bands in the world. They have been quietly going about their musical business for over two decades now. The band consists of a trio of performers: singer/guitarist Ira Kaplan, keyboardist Georgia Hubley and a rotating series of bass players, the most current being James McNew. I have always considered their sound to be a coffeehouse/indie vibe. Their lyrics are often lyrically evocative and filled with gorgeous sensory imagery. If you like your music on the quiet and literate side, then you will like Yo La Tengo. This Stupid World is their 17th album. The first single off of the album is a song sung by Georgia Hubley called “Aselestine”. ***Unfortunately, there isn’t a lyrics version yet.

Dance Fever by Florence and the Machine

Florence and the Machine

In a recent post *(that you can read here) I wrote about listening to the radio as I drove across the top of Toronto at nearly two in the morning. The first song I heard once the dial found radio station CFNY-FM was “Stereo” by The Watchmen. The very next song was “Free” by Florence and the Machine. For those unaware, the “Florence” in Florence and the Machine is a female singer from England named Florence Welch. About a decade ago, she was the winner of one of Simon Cowell’s on-air television talent shows and because of that was awarded a recording contract. She has released a string of hits in the years that have followed. My favourite moment of hers was when she acted as fill-in headliner at the Glastonbury Music Festival for the Foo Fighters one year when Dave Grohl had broken his leg. The first song she sang in her set was “Times Like These”, which is a Foo Fighters song. Dave Grohl and the band returned the following year as headliners. Grohl opened his set with a story about watching Florence and the Machine singing his song. It is a funny NSFW story, but it is well worth watching to get a sense of how respected Florence Welch is in music circles. *(You can watch the Dave Grohl/Florence Welch video here. You can watch Florence’s original performance here). In any case, Florence and the Machine released a new album called Dance Fever right at the end of 2022. “Free” is the second single released from it. The song is about how Florence dealt with the anxiety that was associated with the Covid pandemic and how music helped her retain her sense of inner balance. It is a peppy, uplifting song co-written by Jack Antonoff, who co-wrote the songs on Taylor Swift’s last few albums as well. You can listen to “Free” right here. ***The lyrics version is here.

***As always, all original content contained within this post remains the sole property of the author. No portion of this post shall be reblogged, copied or shared in any manner without the written consent of the author. ©2023 http://www.tommacinneswriter.com

Now We Are Free by Hans Zimmer and Lisa Gerrard from the Original Motion Picture Soundtrack to the Film Gladiator…Song #29/250: The Stars of Stage and Screen

Emperor Commodus as he appeared in a bust and as a computer-generated version of what he may have looked like in real life.

When we examine the whole of human history, it is safe to say that the Holy Roman Empire was one of the most powerful and impactful of all time. At the height of its rule, that Empire counted 70 million people strong. For almost two full centuries, its laws and customs were the laws and customs of a majority of people living in all developed countries on the planet. This period of Roman rule is known in history as Pax Romana or Roman Peace. For the sake of this post, I will not go into the entire history of the Holy Roman Empire but will, instead, focus on how it ended. The 200-year historical period known as Pax Romana was marked by the rule of five Roman Emperors known as the Five Good Emperors. Of those five good emperors, the final one was Marcus Aurelius. During his lifetime, Marcus Aurelius fathered several children, all of whom passed away during childhood except one: a son named Commodus. Being the sole heir to the throne, Commodus received the best in terms of education and opportunity. As a young teenager, Commodus rode off into battle with his father and earned many honours. As he rose in influence, Commodus eventually joined his father as co-emperor and then, a few years later upon Marcus Aurelius’ death, Commodus became the sole Roman Emperor in his early twenties. The reign of Commodus is noted mainly for two things: 1- he negotiated several peace treaties with warring neighbouring countries that led to the final period of stability and peace in the Pax Romana era. 2- Commodus never showed an interest in running the day-to-day affairs of state. He delegated those to subordinates. Instead of being a statesman, Commodus began to rule as though he was a God. He fought gladiator-style in the Coliseum and, among other things, changed many laws to honour his name and protect his place on the throne of Rome. Because of his unsteady leadership, he was the subject of a coup and was assassinated at the age of thirty-one. The death of Commodus ended Pax Romana and ushered in the Year of the Five Emperors and initiated the start of the decline of the Holy Roman Empire across the world.

Joaquin Phoenix as Commodus in the movie Gladiator.

The movie Gladiator is a work of historical fiction that was inspired by the true story of the reign of Commodus. In the movie, Joaquin Phoenix played the role of Commodus to great effect. Veteran actor Richard Harris played his father, the last great Roman Emperor, Marcus Aurelius. As you may know, Gladiator won the Academy Awards for Best Picture and Best Actor for Russell Crowe. Crowe’s character of a military leader turned slave turned gladiator named Maximus was a composite of several historical figures. While Gladiator played loose with the historical facts, as most movies do, overall it was lauded for its generally accurate depiction of how Commodus behaved personally and politically up to and including his decision to meet Maximus in combat in the movie’s climactic scene. All throughout his twenties, Commodus regularly climbed into the combat arena to battle with select gladiators. As was to be expected, he never faced a serious challenge and always emerged victorious. One of his customs was to inflict one or more cuts into the flesh of his opponents. He would then “show mercy” and allow his opponent to live if the opponent agreed to bow down and surrender to him in the arena. All did. Then, as these gladiators went about the rest of their lives, they would bear a “battle scar” that told the world of their indebtedness to Commodus. It was much the same idea as when slave owners branded slaves with their mark as a way of showing ownership. So in the movie’s final scene, it was historically accurate to depict Joaquin Phoenix climbing down from the Emperor’s viewing stand and agreeing to fight to the death with Maximus (who the movie implies was Marcus Aurelius’ favoured choice of successor). If you have not seen the movie then I will not spoil the ending by telling you how the battle turned out. However, I will say that as the scene ended, a most beautiful and unusual song began to play. This song is called “Now We Are Free”. It was written by a woman named Lisa Gerrard. The musical score was created by the legendary composer Hans Zimmer. Before I go any further, I want you to stop reading this post so that you can go and listen to a live rendition of this song. I would like to see if it makes any impressions upon you (aside from the fact that it is lovely and epic in scope). Can you spot what is unusual about this song which makes it completely original in terms of the vast majority of songs used in movies. So, take a moment and listen to the song here. Come back when you are finished and I will let you in on a little secret.

Hans Zimmer and Lisa Gerrard at the Golden Globes where they won for Best Song for “Now We Are Free”.

I hope that you gave this song a proper airing. What did you think of it? I have listened to several different renditions by several different female singers and they all sound similarly beautiful and ethereal. The thing that makes “Now We Are Free” so unique has nothing to do with the music of Hans Zimmer. It is entirely something to do with the writer Lisa Gerrard. While you were listening to the singer, did you hear her use words? It seems as though she does but, in truth, there are no words from any discernible language used in this song at all. Not one. Apparently, from the time she was a child, Lisa Gerrard believed that she could talk directly to God. I kid you not. As part of this communication conduit, Gerrard spoke in a made up language which she believed was given to her by God in order to facilitate their communication. Thus, in “Now We Are Free”, the female voice is using Gerrard’s invented speech patterns. What Hans Zimmer did was match his musical notes so that they amplified and/or complemented the sounds that Gerrard’s utterances were making in such a way as to make beautiful music. It is the same technique that Earth Wind and Fire used in their hit song, “September” when they sang the nonsense line “Ba De Ya” over and over again. Initially that was just a placeholder phrase when the song was still in the formative stages of development but once the music was composed, Maurice White decided to keep the nonsense phrase “Ba De Ya” in place because the cadence of it matched the musical notes perfectly. So, whether it be an uptempo number like “September”, or a passionate, dramatic piece such as “Now We Are Free”, sometimes the sounds made by a human voice are more important in the form they take rather than any actual words being used. This lends credence to those who say that instrumental music, or more specifically, wordless music is still a form of language just the same.

And the Academy Award for Best Actor goes to….Russell Crowe as Maximus from the movie Gladiator.

In any case, “Now We Are Free” stands out as one of the most unique cinematic songs ever created. For a song without intelligible lyrics, “Now We Are Free” says so much. By now you will have listened to a live recording of the song. Below, I will provide a link to how the song was used in the movie. If you have never watched Gladiator and think that you might as a result of this post, then don’t click on the link because it gives away the ending of the movie and I would hate to spoil that experience for anyone. However, if you have watched the movie or just don’t really care, then by all means, click away and enjoy. In any case, the movie Gladiator launched a resurgence in historical fiction in Hollywood with movies such as Troy, King Arthur, The Last Samurai, 300 and Alexander being just some of the movies made in the 2000s that sought to replicate the success of this historical epic. However, even if history isn’t your thing, it is still important to know some of the most important and well known aspects of it. Movies such as Gladiator provide a gateway into the political world of empire building in a way that makes it seem interesting. The desire of megalomaniacs to create empires has been something that has happened repeatedly throughout human history with England and the US and Russia and Hitler’s Germany and WWII-era Japan all being recent examples. Stories of conquerors and the conquered are, in fact, more than works of fiction that fuel novels and movie scripts. This is the real world in which we all live. The real fiction may, in fact, be that any of us truly believe that we are free.

The link to the video for the song “Now We Are Free” by Hans Zimmer and Lisa Gerrard from the Original Motion Picture Soundtrack to the Film Gladiator can be found here.

The link to the video for the trailer to the film Gladiator can be found here.

***As always, all original content contained within this post remains the sole property of the author. No portion of this post shall be reblogged, copied or shared in any manner without the express written consent of the author. ©2023 http://www.tommacinneswriter.com

Takin’ Care of Business by Bachman-Turner Overdrive…Song #29/250: The Great Canadian Road Trip

Elvis’ private airplane with the Takin’ Care of Business logo on the tail. This plane now sits at his Graceland Mansion Museum.

If you are familiar with the career trajectory of Elvis Presley at all, then you know how he burst onto the music scene in the 1950s with music and moves that left audiences in complete hysterics. In the early 1960s, Elvis left the bright lights of the music world for the discipline of the military. When he was honourably discharged from Uncle Sam’s army, Elvis returned to the world of entertainment but as a movie star instead of being purely a rock n’ roll singer. It was during this phase of his career that Elvis Presley began to experience a drop in popularity. Concerned about this, he decided to take control of his career back from his manager in the form of a national television special in which he would simply do what he enjoyed most and that was: sing! The television special was dubbed as Elvis’ “comeback special”. It was warmly received. Going back to his musical roots reinvigorated his spirits and caused Elvis Aaron Presley to want to perform live on a more regular and consistent basis. Thus, he gathered a new backing band and headed out on the road. The name he selected for his backing band reflected the renewed sense of purpose he felt inside. Thus, when Elvis launched his first tour in over a decade, it was called the “Takin’ Care of Business” Tour with Elvis Presley and the Takin’ Care of Business Band. The whole entourage flew on a plane emblazoned with the letters “TCB” next to a lightning bolt. All of the merchandise being sold on the tour had “TCB” and the lightning bolt on it. Elvis Presley was back and was takin’ care of business as only he could.

Just prior to the airing of Elvis’ “comeback special” on TV, a band from Winnipeg, Manitoba was climbing the US rock charts with a smash hit of their own, “American Woman”. The Guess Who, led by singer Burton Cummings and guitarist Randy Bachman saw their song go all the way to #1 on the charts, becoming the first Canadian act to do so in the Rock n’ Roll era. As was the case with many bands, Bachman and Cummings were busy writing and composing new material even as they toured with their older work. One of the songs that Randy Bachman brought to the group was a song tentatively called “White Collar Worker”. At the time, Burton Cummings dismissed the song as terrible because the chorus was clumsy and the melody of the song seemed to be merely copying The Beatles hit, “Paperback Writer”. But despite Cummings’ stinging rebuke, there was something about the song that Randy Bachman liked, so he tucked it away with a list of other songs he was composing with the thought of revisiting it at a future date.

Bachman-Turner Overdrive: Randy Bachman, Blair Thornton (who replaced Tim Bachman on guitar), Robbie Bachman and Fred Turner.

Well, that future date arrived several years later after The Guess Who had broken up. Randy Bachman found himself drifting through several bands, none of which were successful in gaining a new record deal. Eventually, Bachman turned to his family and convinced his brothers Tim and Robbie to join him in a band. They knew they needed a better singer than any of them were, so they recruited a fellow Winnipeg singer named Fred Turner. They named their new band Bachman-Turner Overdrive and set out to create some good, old-fashioned guitar driven rock n’ roll. Randy Bachman wrote all of the songs and kept all of the royalties for himself, which, in time, would prove to be a divisive decision. But, in the beginning, none of that mattered because the hits rolled off of Bachman’s pen. Bachman-Turner Overdrive’s first five albums all went Gold in Canada, with the first four also going Platinum in terms of sales. They had a string of iconic Canadian hits, such as “Let It Ride”, “You Ain’t Seen Nothing Yet”, “Roll On Down The Highway”, “Hey You” and their most famous anthem, “Takin’ Care of Business”. In the mid-1970s, BTO were as big a band in Canada as there was. Their songs, along with those of bands such as April Wine and Trooper, formed much of the soundtrack of my teenage years.

Randy Bachman was listening to Vancouver’s CFUN radio when he heard the magical phrase, “Takin’ Care of Business”.

While most critics and fans accept BTO’s other hits at face value as being straight-ahead rockin’ tunes that are fairly self-explanatory as far as meaning goes, there have always been questions about “Takin’ Care of Business”. In an interview, Randy Bachman stated that although he was an Elvis Presley fan, he had no idea that Elvis’ new tour was titled “The Takin’ Care of Business” tour, nor that his backing band was called by that name, too. He denied ripping Elvis off and claimed, instead, that his song, “Takin’ Care of Business”, had actually been written years before and went by the name “White Collar Man”. Bachman maintained that Bachman-Turner Overdrive used to use “White Collar Man” as a warm-up song during recording sessions in which they would tune their instruments and get proper mic levels all figured out while they played. He said that he never thought of replacing the phrase “white collar man” with “takin’ care of business” until one day in Vancouver when he heard a DJ on CFUN radio use the phrase to describe the station’s musical philosophy. After hearing that, Bachman tweaked the song lyrics and the BTO version of “Takin’ Care of Business” was born. But, even then, the band had no intention of recording it for inclusion on an album. How that came to be was one day during a live performance, lead singer Fred Turner began to experience a mild form of laryngitis. Not certain that he had enough voice left to finish the show, he asked the band to play something…anything for ten minutes while he guzzled water so he could finish the set. Not knowing what else to play, they fell back upon their “tune-up” song and Randy Bachman began to sing. The debut performance of “Takin’ Care of Business” was met with thunderous applause, with the audience singing the new and improved chorus back right from the get-go. Afterwards, it was decided that the song should be added to the next album and the rest is Canadian music history.

The heyday of Bachman-Turner Overdrive coincided with the rejuvenation of Elvis Presley’s career and the donning of his iconic white jumpsuit. By the time that Elvis died in 1976, Bachman-Turner Overdrive were also essentially done as a touring band, too. In the short span of five or six years, Bachman-Turner Overdrive carved out a place for themselves in the pantheon of Canadian music greats. But the intensity with which they toured and recorded new material, coupled with the lack of equity in the division of profits the band was accruing caused the band to bicker and argue, and eventually, it caused Randy Bachman, himself, to opt to leave. There were several iterations of the band as the decades rolled by, including an actual reunion between Fred Turner and Randy Bachman, but nothing of musical consequence emerged. In fact, as some of you may be aware, Robbie Bachman passed away just one week ago formally ending any hope of a reunion of the classic BTO lineup.

Looking back upon it all, Randy Bachman has said that he has no regrets over anything. He remains one of the few Canadian rockers to have two #1 hits with two different bands (“American Woman” with The Guess Who and “You Ain’t Seen Nothing Yet” with Bachman-Turner Overdrive). A song that he always believed in (“Takin’ Care of Business”) became one of the most beloved and recognizable songs in Canadian history and still can be heard played at sporting events everywhere. And through it all, by some pure coincidence in timing, he has found himself forever linked with his hero, Elvis Presley, as two musicians who knew exactly what it meant to be takin’ care of business. The mere thought of it makes Bachman smile to this very day.

The link to the video for the song “Takin’ Care of Business” by Bachman-Turner Overdrive can be found here.

The link to the official website for Bachman-Turner Overdrive can be found here.

The link to the official website for Winnipeg, Manitoba…the birthplace of Bachman-Turner Overdrive can be found here.

***As always, all original content contained within this blog post remains the sole property of the author. No portion of this blog shall be reblogged, copied or shared in any manner without the express written consent of the author. ©2023 http://www.tommacinneswriter.com

Rhapsody in Blue by George Gershwin…Composition #26/50: Keepin’ It Classy

Mr. Chuck Berry

Over the past few years I have spent much time writing about music and the stories behind the most famous songs and genres throughout history. Much of that writing has focussed on Rock n’ Roll. One of the most factual pieces of information to arise out of all of this research and storytelling is that Rock n’ Roll drew much of its inspiration from the Blues and from Gospel. In other words, there was a whole host of musicians and bands who gained fame by taking the best aspects of the Blues and Gospel and integrating that into a new form of Pop music. The Beatles, Elvis Presley, The Rolling Stones and others of their ilk all readily admit to initially being inspired to become musicians by the likes of Chuck Berry, Big Mama Thornton, Little Richard, Muddy Waters, Howlin’ Wolf and so on. One of the things about Rock n’ Roll, no matter who was doing the playing, was that it frightened those who sought to preserve the status quo in society at the time. Rock was called “the Devil’s music”. Many conservative organizations sought to ban it in one form or another. Laying just beneath the surface of this outrage was the odious notion that the real problem with Rock n’ Roll was that it was “Black” music. It was dangerous. It was sexual. It wasn’t proper. While Elvis and The Beatles were celebrated as being musical innovators, the likes of Marvin Gaye and Ben E. King and Curtis Mayfield had to ply their trade on the Chitlin’ Circuit because that was the safest avenue for singers of colour to perform and to express themselves. There were no cheesy movies made about the Reverend Al Green or Sam Cooke. It is simplest to say that the personal and professional experiences of Black musicians differed from those of their White counterparts. For Black musicians, Gospel and the Blues were part of their cultural heritage in a profoundly important manner that just didn’t apply to most White singers.

Many Speakeasies that sprang up in the 1920s showcased Jazz and served alcohol to a multi-racial clientele.

The notion that history repeats itself applies to music as well. Rock n’ Roll was not the first instance when a culturally significant form of musical expression for Black people was co-opted, sanitized and homogenized by Whites who, in turn, were celebrated and honoured for their efforts. The exact same thing happened a half century earlier with the musical genre called Jazz. While Rock n’ Roll was built upon a foundation of Gospel and the Blues, Jazz also incorporated the Blues but in a form that was spiced up with equal measures of Creole, Latin and Caribbean rhythms. Many point to New Orleans, Louisiana, as being the birthplace of Jazz and that, unlike much of the rest of the world’s music, Jazz was a uniquely American construct. Unencumbered by history and by rules handed down from centuries of European experience (as was the case with Classical music), Jazz was more free form and liberated. It was also primarily the purvey of Black musicians. As such, there was an initial air of mystery about Jazz for White audiences. What really brought White audiences and the world of Jazz together was the introduction in the 1920s of Prohibition. The legalized attempt to ban alcohol consumption only served to drive the market for booze underground and into the hands of organized crime figures such as Al Capone. Under the auspices of Prohibition, illegal nightclubs sprang up like weeds. These nightclubs would sell alcohol on the sly. Thus, clubs known as speakeasies began to appear and with them, Jazz musicians found a home. Because Jazz was considered to be Black music, there was a sexiness and an allure about it that drew White people to these speakeasy nightclubs. The 1920s became known as The Roaring Twenties in part because of the growth of Jazz and Swing music.

This is where knowing your history is important. Many of you are aware that it was just as Chuck Berry and Little Richard and James Brown were threatening to break through and become popular acts of their own accord that Rock n’ Roll suddenly went “White” with the appearance of Elvis and The Beatles. It was not some bit of divine intervention or some fluke of timing that saw these White entertainers appear from out of nowhere on their way to superstardom. The powers that be behind the scenes…the Col. Parkers of the world…knew that it was a White world and that they could only take Black music so far in terms of its acceptance by White audiences. These folks knew that if they could take the best of Black music and repackage it in a manner that would more easily appeal to White audiences, then they would really have something. The same thing was true for Jazz.

Composer George Gershwin.

Jazz was born from the cultural heritage of Black people. It rose to prominence as a musical genre during the age of prohibition and thus, it seemed illicit in a way to those not totally familiar with it. But, the growing appeal of Jazz music was undeniable. So, too, was the appeal it had to those who sought to control it and market it and profit from it. Just like it was later with Rock n’ Roll, the moment when Jazz crossed over into the mainstream of White culture in America occurred when a man named George Gershwin was challenged to create a Jazz-inspired crossover composition that would unite the world of Classical music (which was uniformly White) with the world of Jazz (which was almost entirely Black). That composition was called “Rhapsody in Blue”. This composition changed the nature of Jazz music in America in the same way that Elvis singing “Hound Dog” by Big Mama Thornton changed Rock music in the 1950s. What was proudly Black now became commercially White. And everything was different then.

George Gershwin was only twenty-five years old when he composed “Rhapsody in Blue”. He was inspired to create the music for it after having ridden on a train. The pounding circular rhythm of the train’s movements caused Gershwin to develop the core components of the composition. Up until this moment, Gershwin had been known for providing the soundtrack to plays in much the same way that Mozart created the music for operas such as “The Marriage of Figaro”. As such, Gershwin was a rising star in the New York music scene. Because he was so young and successful, the powers that be felt that he would be the perfect person to launch as the face of modern Jazz. Trained in classical music as he was, Gershwin was very familiar with creating works for orchestras. He would write music for specific instruments and then weave the individual parts together to form a tapestry of sound that was pleasing to the ear. The challenge he faced with “Rhapsody in Blue” was to take the classical music format and insert elements of Jazz music into it while, at the same time, using traditional classical instruments in a Jazz style. Gershwin accomplished this by opening his piece with an elongated clarinet solo, that when first played, was unlike anything audiences had heard before. The opening of “Rhapsody in Blue” has become one of the most famous musical openings of all time. To those in attendance the first time “Rhapsody in Blue” was played, it was obvious that music was original and innovative and had staked new musical ground. Gershwin’s debut performance was met with rapturous applause. From that moment onward, “Rhapsody in Blue” was Jazz in America. To authentic New Orleans Jazz players, “Rhapsody in Blue” struck them as relatively bland and vanilla-like. But they also knew that White men had arrived in the world of Jazz and that the jig would never be the same again. They were right about that. As you listen to “Rhapsody in Blue” below, I hope that you appreciate it for the lovely piece of music that it is. The clarinet movement off of the top was an inspired choice to lead off the composition and act as an invitation into the mysterious world of Jazz for modern audiences. This was no speakeasy composition, but rather, it was a mass-marketing tool that drew as its inspiration the strength and beauty of America. A White America for White Americans. Gershwin was to Jazz as Elvis was to Rock n’ Roll. Somewhere down in New Orleans, beyond the tourist-trap allure of Bourbon Street, there is a Black Jazz player who is channeling an entire history worth of experience into their performance in the same manner that Billie Holiday once sang of “Strange Fruit”.

I will end this post as I began by simply stating the fact that the cultural and historical experiences that Black musicians infuse into their music are profoundly and deeply different than those experienced by Whites. They just are. For as lovely and historically significant a piece of music that “Rhapsody in Blue” is, it isn’t real Jazz. It is something else. Real Jazz comes from somewhere else. Somewhere deeper. I hope that you like it anyway. Many do. Just as many adored Elvis, too.

The link to the video for the composition “Rhapsody in Blue” by George Gershwin can be found here.

The link to the official website for George Gershwin can be found here.

The link to the official website for Classical music radio station extraordinaire…Classical 103.1…broadcasting from my hometown of Cobourg, Ontario can be found here.

***As always, all original content contained within this blog post remains the sole property of the author. No portion of this post shall be reblogged, copied or shared in any manner without the express written consent of the author. ©2023 ww.tommacinneswriter.com

Dan Penn: Dark End of the Street…Song #21/250: Reader’s Choice

The main cast of the Netflix show, Derry Girls.

During the recent Christmas holidays, my eldest daughter Leah began pestering my wife and I to watch a television series running on Netflix called Derry Girls. Leah claimed that it was the perfect combination of comedy, music, history and storytelling and that we would love it if we gave it a chance. So, we gave it a try and boy, am I ever glad we did! Derry Girls is a fantastic series. It is set in the town of Derry, Ireland, and in much the same way that the Vietnam War permeated every aspect of the landmark comedy, M*A*S*H*, “The Troubles” in Northern Ireland make their presence felt all through this show, too. What connects Derry Girls to today’s post is something that happened in passing in the final episode of the series. All throughout the series, real historical references were liberally added to the storyline. In the closing episode, two of the female characters were having dueling 18th birthday parties and were competing to have Derry-born singer Bronagh Gallagher sing at their party. Gallagher is someone who helped make Derry proud because of her important role in the Irish movie, The Commitments, in which she plays a singer in an Irish band that is seeking to emulate the 1960s Soul and R & B sound of the American South. Gallagher ends up making a cameo appearance in the finale and helps to wrap the series up on a very satisfying and appropriate note. The soundtrack to the series Derry Girls is absolutely fantastic and comes highly, highly recommended.

This brings me back to The Commitments. The music was excellent all throughout that movie as well. The two soundtrack CDs that came out of that project both featured some of the most iconic Soul and R & B recordings ever made. In fact, for a movie known for its music, The Commitments is one of the only movies of its type ever made that features no original songs. All of the music came from pre-released classic tracks from some of music’s most famous names, all performed as covers by the actors who played the roles of band members in the movie. For those who have never watched The Commitments, it, too, comes highly recommended. It was based upon a book by Irish writer Roddy Doyle and ended up being nominated for an Academy Award, as well as winning the British Film Award for Best Picture of the Year. The storyline is simply about a dream that one young Irish man has about forming a Soul band because he believes that music is the most “real” of all musical genres. In the film, it comes out that one of the characters knows singer Wilson Pickett and boasts of being able to have him appear on stage with them during one of their shows. The connection with Wilson Pickett is a very important one because of Pickett’s musical background. In real life, “Wicked” Wilson Pickett shot to fame on the basis of several songs, the most famous being “In The Midnight Hour”. *(I wrote a previous post about this song that you can read by clicking here). A majority of Pickett’s hits were recorded at the F.A.M.E. music studios in Muscle Shoals, Alabama. That is an important connection because almost all of the songs found on the original The Commitments soundtrack CD had their origins in Muscle Shoals, including two songs, “Dark End of the Street” and “Do Right Woman/Do Right Man” that were co-written by today’s singer/songwriter, Dan Penn. So, even though The Commitments is an Irish movie about an Irish band, it is really a historical nod to the legacy of excellence that emanated from the F.A.M.E. music studio in Muscle Shoals, Alabama and is a tip of the hat to those like Dan Penn who did such groundbreaking work there. The story of Soul music in America is not just about Motown in Detroit. It is just as much about Muscle Shoals, too, as you shall soon see.

F.A.M.E. owner Rick Hall working with singer Etta James.

Muscle Shoals, Alabama is a relatively small town of approximately 12,000 people that sits in the upper northwest corner of Alabama, along the Tennessee River. Muscle Shoals came into existence as a result of Franklin Roosevelt’s economic stimulus initiative known as the Tennessee Valley Authority Act. Among the many things that this Act did was to bring industry to those communities situated along the Tennessee River. It accomplished this by laying down power lines and modernizing the infrastructure of formerly rural, under-developed places like Muscle Shoals. One of the first industries to come to Muscle Shoals was the Ford Motor Company. It built an automobile assembly line factory there that brought with it a workforce that swelled the ranks of Muscle Shoals citizenry. During the 1950s, an entrepreneur named Rick Hall saw an opportunity to take advantage of Muscle Shoals’ improved economic situation by opening a recording studio just as Rock n’ Roll was set to become the next big thing in America. However, more than just being a business owner, Hall was a white man who believed that laws that separated the races in America were wrong. Hall loved music, and, in particular, he had a fondness for Soul music. So, at great danger to himself, he opened a music studio called F.A.M.E. (which stood for Florence, Alabama Music Enterprises) with the intention of making it a fully-integrated recording facility. As you may know, integration was a very loaded word in the American South at that time and there were many who thought that Hall’s idea that “music should be colourblind” was outrageous and naive. But Hall thought otherwise and set out to prove the naysayers wrong. One of the first acts to record in Muscle Shoals was Wilson Pickett. One of the next to come through the F.A.M.E. studio doors was a young black female singer named Aretha Franklin. Aretha was no Queen of Soul in those days. Back in the late 1950s and early 1960s, she was just starting out in her career. As such, Franklin was in need of good songs to sing. One of the songwriting teams assigned to work with her was the team of Dan Penn and Chips Moman. From their creative minds came the song “Do Right Woman/Do Right Man”, which ended up becoming one of the songs that launched Aretha Franklin’s career. The team of Penn and Moman also wrote a song called “Dark End of the Street”, which they gave to a singer named James Carr. Carr’s version of this song is considered by most fans and critics as being the definitive version of this classic Soul track.

The Ford Motor Company left Muscle Shoals, Alabama in 1971. However, instead of drying up as many one-industry towns do when that one industry up and leaves, Muscle Shoals doubled down on music. Since then, this small community has become the epi-centre of music production in the American South and has seen artists as varied as Duane Allman, Joe Cocker, Willie Nelson, Paul Simon, Cher, Rod Stewart, Cat Stevens and many more all record there. Regardless of which artist was recording at any one time, the F.A.M.E. music studio has always been fully integrated with engineers, mixers, session players, back-up singers and so on all being the best available people regardless of gender or race. One of those who has worked there for over six decades now is Dan Penn. Although Penn is most known as a songwriter for hire, he has produced several albums of his own material and is well-regarded as an authentic voice of a sub-genre of music known as “Blue-eyed Soul”. It is, therefore, not surprising that Dan Penn’s name should appear not once but twice on the soundtrack for the movie The Commitments for his songs “The Dark End of the Street” and “Do Right Woman/Do Right Man”. After all, when writer Roddy Doyle wrote about an Irish band singing “blue-eyed soul” it is only right that he should go directly to the wellspring of its source, Mr. Dan Penn, for material.

Dan Penn was nominated as a Reader’s Choice selection by my friend Andrea Storm. Andrea is a retired teacher who used to work with my wife, Keri, which is how I first came to know her. Since then, Andrea and I have teamed up to create this very post that you are reading (and all of the others that I create). Andrea has volunteered to act as my copy editor and in that role is responsible for reducing my use of commas by over fifty percent at least for each post. Andrea is also a music lover and regularly attends more concerts in one year than I have seen in my lifetime. So, thank you Andrea for your help with these music posts and for nominating such an interesting and important figure from the world of music in the form of Dan Penn. To anyone else reading this post, I happily take requests for artists, bands and songs from any era and from any genre of music. If you have a good suggestion for one of these Reader’s Choice profiles, then by all means send it along and I will be happy to oblige at some future date. Until then, thank you all for being part of this music blog experience. I hope to see you all again in a week with the next installment of Reader’s Choice. Bye for now.

The link to the video for the trailer to the Netflix series Derry Girls can be found here.

The link to the video for the trailer to the movie The Commitments can be found here.

The link to the video for the song “Do Right Woman/Do Right Man” written by Dan Penn and Chips Moman and sung by Aretha Franklin can be found here. ***For the lyrics version I can only find the Jennifer Hudson cover version which is here.

The link to the video for the song “Dark End of the Street” written by Dan Penn and Chips Moman and sung by James Carr can be found here. ***Once again, I could only find cover versions for the lyrics version. So, from the movie The Commitments, here you go. Their version is here.

The link to the video for the trailer of a documentary called “Muscle Shoals” about the history of Muscle Shoals and the F.A.M.E. studios can be found here.

The link to the official website for the F.A.M.E. music studio can be found here.

The link to the official website for Muscle Shoals, Alabama can be found here.

***As always, all original content contained within this blog post remains the sole property of the author. No portion of this post shall be reblogged, copied or shared in any manner without the express written consent of the author. ©2023 http://www.tommacinneswriter.com

Tomorrow’s Top 40…2022: The Year in Review

If you have been following along with my posts over the past year, you will know that I have dedicated each Thursday toward showcasing those songs that sat on the top of the charts this past year, as well as new offerings that are sure to cause a ripple in the weeks and months to come. Today’s post takes a look back at the past year and offers up a few tasty nuggets for you to enjoy. Let’s begin.

1- Today/Tomorrow’s Top 40 Checklist:

In this checklist you will find the complete list of every topic covered this past year. There are links to all posts for you to enjoy at your leisure. The link to the 2022 Today/Tomorrow’s Top 40 checklist for the year can be found here.

2- Today/Tomorrow’s Top 40 Spotify Playlist:

Each song covered throughout the course of 2022 was also compiled onto a Spotify playlist. You can access the best music of 2002 by clicking on the link here.

3- Artist of the Year:

Artist of the Year: Bad Bunny

The Artist of the Year for 2022 is none other than Bad Bunny. For the third consecutive year, Bad Bunny has dominated the numbers when it comes to downloads and streams. In the past three years, Bad Bunny’s songs have been streamed over 35 billion times on Spotify!!! That dwarfs the totals achieved by other heavyweight artists such as Drake, Taylor Swift, The Weeknd and Justin Bieber. Bad Bunny is the worldwide runaway leader in popularity when it comes to his fanbase so it was no surprise that as festival season begins anew for 2023 that Bad Bunny was chosen as the headlining act for the Coachella Music Festival. On a related note, Bad Bunny’s co-headlining act at Coachella is BlackPink, the all-female K-pop phenoms from South Korea. With social media and music sharing platforms being what they are today, there has never been a better time to be a musician. Anyone with talent from any part of the world can now make it to the top of the music world. There are no greater examples of this than Bad Bunny and BlackPink. This past year I profiled both artists in posts that you can read here and here.

4- Song of the Year:

Song of the Year: “As It Was” by Harry Styles

One of the reasons I made the mid-year switch from following the songs on the top of the charts to introducing you to brand new releases was that the top of the charts ended up being dominated by a small handful of artists such as Lizzo, The Weeknd, Justin Bieber, Taylor Swift and Harry Styles. While a few songs by other artists came and went, tunes such as “As It Was” by Harry Styles remained in the Top Ten for most of the year. As a writer, there is only so much one can say about a performer such as Harry Styles. He had one of the most successful years in recent memory, with two #1 hits, over five million is album sales of his hit record, Harry’s House and a concert tour that, among other things saw him perform an almost month-long series of sold out shows at Madison Square Garden in New York City. He is a gender-defying, genre-spanning, kindness-selling superstar and, if not for Bad Bunny’s ridiculous numbers, I am sure that Harry Styles would have been Artist of the Year, as well as having the Song of the Year for “As It Was”. I did wrote about Mr. Styles twice. You can read both posts here and here.

5- Musical Moment of the Year:

Like father, like son. Sixteen year old Shane Hawkins and the late, great drummer of The Foo Fighters, Taylor Hawkins

Choosing one moment as being the most memorable musical moment of the year is a highly subjective one, for sure. However, having said that, I can’t imagine there being much debate over the emotional impact of seeing sixteen year old Shane Hawkins sit in place of his father and play “My Hero” with his musical family, The Foo Fighters during the first of two Taylor Hawkins Tribute concerts organized by Taylor friend and bandmate, Dave Grohl. 2022 saw the untimely passing of Foo Fighters drummer Taylor Hawkins while on tour wth the band in South America. For Grohl, having lost Kurt Cobain while in Nirvana and now losing Hawkins, it was a blow that could have ended his career. But Dave Grohl decided the best way to handle the situation and to honour his friend was to throw a musical celebration of life in the form of two tribute concerts; one in London, England and the other in Los Angeles. Both shows were a marvellous example of showcasing the bonds that exist between bands, between drummers and between generations. But while many musical celebrities lent their support such as Rush, P!nk, Liam Gallagher, Wolfgang Van Halen, Def Leppard, Miley Cyrus and many, many more, the person who stole the show and took a real star turn was none other than Taylor Hawkins’ teenage son, Shane Hawkins. Leading the Foo Fighters in “My Hero”, Shane Hawkins delivered one of the most amazing performances on any stage in recent memory. Channeling every ounce of emotion and skill, Shane Hawkins gave one of the most memorable grace-under-pressure performances ever, as the rest of the Foo Fighters kept taking turns watching over him should he have faltered in any way at all. It was terrific rock n’ roll but it was an even better example of the love that exists between families and how music makes its expression possible. I wrote about this performance in a post that you can read here.

6- Musical Trend of the Year:

“Running Up That Hill” roared back to life after soundtracking this scene from the Netflix original series, Stranger Things.

The success of international acts such as Bad Bunny and BlackPink aside, at the beginning of 2022 no one could have predicted that we would witness a return to the top of the charts for 80s icon Kate Bush and her hit song, “Running Up That Hill”. While Kate Bush may be my favourite female artist and while I may know her song catalogue inside and out, an entirely new generation of music lovers became aware of her greatness by way of the inclusion of her song in a television show called Stranger Things. The use of “Running Up That Hill” in a pivotal scene from the series captured the attention of throngs of young viewers who then used their power as social media influencers to pore through Kate Bush’s greatest hits, causing the sixty year old Bush to become one of the most talked about and viewed celebrities of the year. Producers of other television shows took note of the success that Stranger Things had using iconic 80s music to soundtrack their show. The most noteworthy example of this comes from the series Wednesday starring Jenna Ortega as Wednesday Addams from The Addams Family franchise. Ortega is on track to win an Emmy Award for her portrayal of Wednesday Addams and has created several viral social media moments already by using music to augment her acting as seen in her playing of Vivaldi’s “Winter” on the cello while fire erupts all around her and most recently, her iconic dance scene in which she dances in her own unique style to “Goo Goo Muck” by The Cramps. You can watch Jenna Ortega’s scenes here and here. I wrote about the renaissance of Kate Bush in a post that you can access here.

What were some of your musical highlights from 2022? Did you get to attend any memorable concerts? Did you discover a new act or re-discover an old favourite? How did music play a part in your life as the pandemic restrictions eased and we slowly, carefully got back out there in the real world some more? I would love to hear what you have to say about the topics listed above or about anything on your mind related to the world of music and those who sing it and play it. Please feel free to leave your comments in the comment box below. That’s a wrap on the year 2022 from the world of music. Please join me every Thursday for the rest of the year for all that is new and exciting in the world of music for 2023. Until then, take care and bye for now.

***As always, all original content contained within this post remains the sole property of the author. No portion of this post shall be reblogged, copied or shared in any manner without the express written consent of the author. ©2023 http://www.tommacinneswriter.com

Today’s Top 40/Tomorrow’s Top 40: Checklist #1…Year 2022 Edition

Each link listed below will take you to the original post that was written about that song. All content of the checklist, as well as the original post, remain the sole property of the author. The content within cannot be copied, shared or re-posted without the express consent of the author. ©2022 http://www.tommacinneswriter.com.

1- We Don’t Talk About Bruno from the Original Motion Picture Soundtrack to the film, Encanto.

Song of the Year: Harry Styles “As It Was”.

2- Take My Breath by The Weeknd.

3- As It Was by Harry Styles.

4- 2Step by Ed Sheehan ft. Lil Baby.

5- The Last Goodbye by Odesza ft. Bettye Lavette.

6- About Damn Time by Lizzo.

7- Ojitos Lindos by Bad Bunny.

8- Glastonbury Music Festival 2022.

9- Glastonbury Music Festival 2022: Part II.

10- Break My Soul by Beyonce.

Artist of the Year: Bad Bunny

11- Moth To A Flame by Swedish House Mafia ft. The Weeknd.

12- Late Night Talking by Harry Styles.

13- Super Freaky Girl by Nicki Minaj.

14- That’s What I Want by Lil Nas X.

15- The Taylor Hawkins Tribute Concert from Wembley Stadium in London.

16- Knees Deep by The Beths.

17- Taylor Hawkins Concert #2, Lizzo plays a flute, etc., Unholy by Sam Smith/Kim Petras.

18- Blink-182, July Talk, Fontaines D.C. and Paramore.

Musical Moment of the Year: Taylor Hawkins Tribute Concert…son Shane Hawkins sits in and has a performance for the ages!

19- Harlem Gospel Travelers, Dropkick Murphys, Brandi Carlile and Beth Orton.

20- The Rolling Stones, Madonna, Blondie, Tegan and Sara, Carly Rae Jepsen, Meghan Trainor, Vance Joy and Taylor Swift.

21- Maggie Rogers, Prince and the Revolution, the Elvis movie soundtrack and Mary J. Blige!

22- The Mahones, Amanda Shires, Mud Morganfield and Bruce Springsteen!

23- First Aid Kit, Lido Pimiento, The Soweto Gospel Choir and Southside Johnny and the Asbury Jukes.

24- Top Ten New Christmas Releases: Kristin Chenoweth, Billy Idol, Neil Diamond, etc.

Luck Be A Lady from the Original Cast Recording of the Musical, Guys and Dolls…Song #28/250: The Stars of Stage and Screen

As a young and very nerdy boy, I attended this high school from 1978-82.

Way back in the day, I went to high school at a place known as Morrison Glace Bay High School. Back home, the school was simply known as Morrison. In the 1970s, Glace Bay was still a town that was fairly divided along religious lines: Morrison became known as the Protestant or public high school while across town, St. Michael’s was where the Catholic kids in town went. Needless to say, there existed a fierce rivalry between the two schools. Every sporting tournament contained elements of a Battle of Glace Bay. Like all intense rivalries, sometimes my school came out on top and sometimes we didn’t. But one thing that I think Morrison did better than St. Mike’s, year after year, was our production of a full-blown high school musical. We were lucky at Morrison to have a teacher on staff who championed this cause and was highly proficient at shepherding everyone through the dramatic process involved in putting on a quality play. Because of a lady named Harriett Townsend, our school became known for the quality of our theatrical productions. While we put on several musicals over the course of my time there, the one that made the most impression on me was Guys and Dolls.

Author, columnist, screenwriter Damon Runyon.

Guys and Dolls is a musical that is based upon a series of short stories written by one of America’s most colourful writers, Damon Runyon. In the first half of the 1900s, Runyon wrote for newspapers that were run by mogul William Randolph Hearst. Runyon was a gambling man, a drinker and a smoker, too. He ran with a crowd that many would consider to be unsavory, such as mobsters, politicians, homosexuals (at a time when homosexuality was still considered a crime in many jurisdictions), “women of the night” and so on. Runyon’s newspaper columns routinely featured stories on the sporting world (particularly boxing and horse racing), along with the world of Broadway musicals. Damon Runyon wrote with a style that became known as Runyonese, which meant that he usually called his characters by imaginative names, his stories often took place in the underbelly of New York society circles and he was known for his use of made up language or slang terminology. In 1932, he wrote a short story entitled “The Idyll of Miss Sarah Brown”. In that story, he wrote about the unlikely romance between a habitual gambler and the wholesome church lady who viewed him as a sinner worth saving. Two decades later, that short story was adapted for Broadway and became known as Guys and Dolls.

When Guys and Dolls debuted on Broadway, it won the Tony Award for Best Musical. The script for the musical won the Pulitzer Prize for Best Drama. The world beyond the Big Apple was introduced to the vernacular of Damon Runyon where the men were all known by nicknames such as Lefty or Shorty or Skinny, and the women were all known as dames or broads or dolls. The story of Guys and Dolls revolves around gambling, but at its core, it is about redemption and love. The original cast recording of the musical won the Grammy Award for Best Recording by a Group or Ensemble. The most famous song, among many from this soundtrack, is “Luck Be a Lady”. This is a song that is sung by a group of gamblers all hoping to have the cards fall their way or the dice come up with anything other than snake eyes.

Marlon Brando, Frank Sinatra and fellow cast members looking sharp!

What I remember most about Guys and Dolls appearing at Morrison Glace Bay High School was how the costumes completely transformed those who appeared on stage. Boys who normally wore jeans, sweatshirts and sneakers every day suddenly appeared on stage in the sharpest of suits, the shiniest of shoes, all topped off with slicked back hair and fedoras. These boys became men as they sang of their hopes for making it rich on the roll of the dice or the speed of the ponies. And the girls…my word…these girls who I had sat beside in class for years appeared on stage in make-up, in heels and form-fitting dresses that sashayed when they moved. These girls of my youth transformed into women before my eyes in a way that I never had thought them capable of doing until that moment. The story of Guys and Dolls was all dressed in stylish garb and grownup language and allowed the students and citizens of Glace Bay to catch a glimpse of a part of the world that only New Yorkers had known up until then. It was gritty, dangerous and filled with virtue and tenderness at the same time. Guys and Dolls had it all. No wonder it is one of Broadway’s most honoured and respected musicals of all time.

Guys and Dolls became a movie, with Frank Sinatra and Marlon Brando starring in it. The musical has also been performed by all manner of touring companies from the four corners of the world. But for me, Guys and Dolls will always be a high school musical. Without question, the time one spends in high school helps to shape the rest of your life. While the academic studies help to prepare you for your post-secondary career and/or the world of work, there is so much else that goes on beyond the walls of those classrooms but within the walls of the school that adds so much colour to one’s life. Whether those extra-curricular experiences come on the playing field or on the stage doesn’t matter. What does matter is that kids, some of whom are going through the most confusing and pressure-filled times of their lives, get to don uniforms of one sort or another, step out of their lives for a while and become someone different, if only just for a short time. But, in that short time, they can grow in ways that just aren’t possible sitting at a desk in a classroom taking notes. So, kudos to all high school adults who willingly volunteer to provide such rich experiences for our children: experiences that go beyond academics and help our children to forge a sense of identity that is necessary to take on the world that awaits on the other side of graduation. Extra applause for those young people who step up and grasp those opportunities being presented to them. Taken together, extracurriculars enrich us all.

The link to the video for the song “Luck Be A Lady” from the Original Cast Recording of the Musical Guys and Dolls can be found here. ***The lyrics version can be found here.

The link to the official website for the musical Guys and Dolls can be found here.

The link to the video for the trailer to the movie version of Guys and Dolls can be found here.

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