Podcast appearances and mentions of Frederick Loewe

Play Episode Listen Later Jul 24, 2022 85:00

Alan Jay Lerner como letrista y Frederick Loewe como compositor ya son conocidos de los seguidores de nuestros podcasts, en parte porque les dedicamos una playlist de los temas más populares de sus musicales y también por un podcast individual que dedicamos a Alan Jay Lerner como letrista, incluyendo algunos de sus temas para otros compositores como Burton Lane, Leonard Bernstein, Charles Strouse, John Barry o Kurt Weill. Así mismo hemos dedicado dos programas de “Cuéntame un musical” a sus grandes éxitos “Camelot” y “My fair lady”, pero ahora hemos querido rendir tributo a las excelentes músicas de Frederick Loewe, inspiradas por los libretos y letras de Alan Jay Lerner, así que hemos preparado varias suites instrumentales de sus composiciones para sus musicales “Camelot”, “Brigadoon”, “My fair lady”, “Pain your wagon”, “Gigi” y terminaremos con otros menos populares como “The little prince” y “The day before spring”. 00h 00’00” My last love – Steve Ross (What’s up) 00h 02’05” Presentación 00h 03’23” Cabecera 00h 04’00” Camelot 00h 17’36” My fair lady 00h 36’11” Gigi 00h 45’34” Brigadoon 00h 59’49” Paint your wagon 01h 10’40” The little prince 01h 15’37” The day before spring

pain paint presentaci camelot leonard bernstein suites john barry kurt weill brigadoon charles strouse alan jay lerner frederick loewe burton lane

CUM5.07: My Fair Lady

A History Of Rock Music in Five Hundred Songs

Play Episode Listen Later Jun 30, 2022 107:47

MY FAIR LADY es uno de los musicales clásicos más queridos por el público y no podíamos dejarlo fuera de nuestros podcasts. Para la versión que nos acompañará en el podcast hemos mezclado la del reparto original que la estrenó en Broadway y en Londres con Rex Harrison, Julie Andrews y Stanley Holloway, con algunos cortes del soundtrack de la película supervisada y dirigida por André Previn, aunque variando el orden de los números para mantenerlos tal como se ven en la versión teatral. Rex Harrison es el Profesor Higgins y Julie Andrews es Eliza que por ser entonces casi una debutante, para cuando se llevó al cine el musical, su papel lo interpretó Audrey Hepburn, aunque fue doblada en las canciones por Marni Nixon, cantante fantasma a la que dedicamos este mes un podcast de la serie protagonistas, contando cómo prestó su voz a grandes intérpretes, que se llevaron el mérito de su trabajo. Aunque Rex Harrison está magnífico como Profesor Higgins, de hecho creó el personaje en el escenario con el que ganaría el Tony y el Oscar al mejor actor, he querido rendir homenaje a dos actores excepcionales que se atrevieron a interpretar también el personaje: Jeremy Irons y Jonathan Pryce, adjudicándoles uno de los temas del musical para que escuchéis su forma de decir y cantar las canciones, prácticamente un estilo creado por Rex Harrison, que convenció a los compositores Alan Jay Lerner y Frederick Loewe para hacer una mezcla de recitado/cantado. 00h 00’00” Quisiera yo bailar – Paloma San Basilio 00h 01’45” Presentación 00h 03’45” Cabecera 00h 04’53” Inicio 00h 06’48” Overture 00h 11’28” Why can’t the English? 00h 14’43” Wouldn’t it be loverly? 00h 18’40” The flowermarket 00h 21’04” With a little bit of luck 00h 26’07” I’m an ordinary man – Jonathan Pryce 00h 32’28” Just you wait 00h 36’12” Servant chorus 00h 37’15” The rain in Spain 00h 40’08” I could have dance all night 00h 45’23” Ascott Gavotte 00h 49’29” On the street where you live 00h 53’03” Intermission 00h 55’31” The Transylvanian March 00h 56’46” The Embassy waltz 00h 59’30” You did it 01h 04’44” Just you wait (Reprise) 01h 05’45” On the street where you live (Reprise) 01h 07’25” Show me 01h 09’48” The flowermarket (Reprise) 01h 12’27” Give me to the church on time 01h 19’02” A hymn to him – Jeremy Irons 01h 23’21” Without you 01h 26’02” I’ve grow accustomed to her face 01h 32’34” Finale 01h 34’09” Curiosidades 01h 36’29” Con la suerte de mi lao – Joan Crosas 01h 39’00” La calle donde vive mi amor – Victor Díaz 01h 43’09” Say a prayer for me tonight - June Allison 01h 46’32” Exit music

Episode 65: "Getting To Know Him": The Letters Of Oscar Hammerstein II

BROADWAY NATION

Play Episode Listen Later May 19, 2022 55:58

My guest on this episode is Mark Eden Horowitz who joins me to talk about his fascinating new book, The Letters of Oscar Hammerstein II. Mark is Senior Music Specialist in the music division of the Library of Congress where he has been an archivist or co-archivist for the papers of Jerome Kern, Vernon Duke, Cole Porter, Frederick Loewe, Alan Jay Lerner, Leonard Bernstein, Richard Rodgers and Oscar Hammerstein He is also the author of the award-winning book Sondheim On Music, and for ten years he served as the contributing editor for The Sondheim Review. This latest book contains hundreds of previously unpublished letters to and from Hammerstein that Mark compiled and edited. And through these letters we get to go inside the mind of Oscar Hammerstein and get an extraordinary, never before seen view of both his professional and personal life. It's one of those books where you can turn to any page and find something fascinating that you never knew before. Mark will also be joining me for a special Broadway Nation Livestream event on Friday, May 19, at 7pm EDT/4pm PDT. The event will include trivia contests, book give-aways, and the chance to ask Mark any question you may have about his new book, Oscar Hammerstein, or Mark's work at the Library of Congress. We will be streaming live on Broadway Nation's and the Broadway Podcast Network's YouTube, Facebook, and Instagram feeds. And if you are not able to join us live we will be posting a recording of the event on our YouTube channels. Learn more about your ad choices. Visit megaphone.fm/adchoices

letters library of congress edt pdt leonard bernstein hammerstein cole porter richard rodgers broadway podcast network jerome kern oscar hammerstein oscar hammerstein ii alan jay lerner frederick loewe vernon duke

Episode 147: “Hey Joe” by The Jimi Hendrix Experience

Play Episode Listen Later Apr 16, 2022

Episode one hundred and forty-seven of A History of Rock Music in Five Hundred Songs looks at “Hey Joe" by the Jimi Hendrix Experience, and is the longest episode to date, at over two hours. Patreon backers also have a twenty-two-minute bonus episode available, on "Making Time" by The Creation. Tilt Araiza has assisted invaluably by doing a first-pass edit, and will hopefully be doing so from now on. Check out Tilt's irregular podcasts at http://www.podnose.com/jaffa-cakes-for-proust and http://sitcomclub.com/ Resources As usual, I've put together a Mixcloud mix containing all the music excerpted in this episode. For information on the Byrds, I relied mostly on Timeless Flight Revisited by Johnny Rogan, with some information from Chris Hillman's autobiography. Information on Arthur Lee and Love came from Forever Changes: Arthur Lee and the Book of Love by John Einarson, and Arthur Lee: Alone Again Or by Barney Hoskyns. Information on Gary Usher's work with the Surfaris and the Sons of Adam came from The California Sound by Stephen McParland, which can be found at https://payhip.com/CMusicBooks Information on Jimi Hendrix came from Room Full of Mirrors by Charles R. Cross, Crosstown Traffic by Charles Shaar Murray, and Wild Thing by Philip Norman. Information on the history of "Hey Joe" itself came from all these sources plus Hey Joe: The Unauthorised Biography of a Rock Classic by Marc Shapiro, though note that most of that book is about post-1967 cover versions. Most of the pre-Experience session work by Jimi Hendrix I excerpt in this episode is on this box set of alternate takes and live recordings. And "Hey Joe" can be found on Are You Experienced? Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript Just a quick note before we start – this episode deals with a song whose basic subject is a man murdering a woman, and that song also contains references to guns, and in some versions to cocaine use. Some versions excerpted also contain misogynistic slurs. If those things are likely to upset you, please skip this episode, as the whole episode focusses on that song. I would hope it goes without saying that I don't approve of misogyny, intimate partner violence, or murder, and my discussing a song does not mean I condone acts depicted in its lyrics, and the episode itself deals with the writing and recording of the song rather than its subject matter, but it would be impossible to talk about the record without excerpting the song. The normalisation of violence against women in rock music lyrics is a subject I will come back to, but did not have room for in what is already a very long episode. Anyway, on with the show. Let's talk about the folk process, shall we? We've talked before, like in the episodes on "Stagger Lee" and "Ida Red", about how there are some songs that aren't really individual songs in themselves, but are instead collections of related songs that might happen to share a name, or a title, or a story, or a melody, but which might be different in other ways. There are probably more songs that are like this than songs that aren't, and it doesn't just apply to folk songs, although that's where we see it most notably. You only have to look at the way a song like "Hound Dog" changed from the Willie Mae Thornton version to the version by Elvis, which only shared a handful of words with the original. Songs change, and recombine, and everyone who sings them brings something different to them, until they change in ways that nobody could have predicted, like a game of telephone. But there usually remains a core, an archetypal story or idea which remains constant no matter how much the song changes. Like Stagger Lee shooting Billy in a bar over a hat, or Frankie killing her man -- sometimes the man is Al, sometimes he's Johnny, but he always done her wrong. And one of those stories is about a man who shoots his cheating woman with a forty-four, and tries to escape -- sometimes to a town called Jericho, and sometimes to Juarez, Mexico. The first version of this song we have a recording of is by Clarence Ashley, in 1929, a recording of an older folk song that was called, in his version, "Little Sadie": [Excerpt: Clarence Ashley, "Little Sadie"] At some point, somebody seems to have noticed that that song has a slight melodic similarity to another family of songs, the family known as "Cocaine Blues" or "Take a Whiff on Me", which was popular around the same time: [Excerpt: The Memphis Jug Band, "Cocaine Habit Blues"] And so the two songs became combined, and the protagonist of "Little Sadie" now had a reason to kill his woman -- a reason other than her cheating, that is. He had taken a shot of cocaine before shooting her. The first recording of this version, under the name "Cocaine Blues" seems to have been a Western Swing version by W. A. Nichol's Western Aces: [Excerpt: W.A. Nichol's Western Aces, "Cocaine Blues"] Woody Guthrie recorded a version around the same time -- I've seen different dates and so don't know for sure if it was before or after Nichol's version -- and his version had himself credited as songwriter, and included this last verse which doesn't seem to appear on any earlier recordings of the song: [Excerpt: Woody Guthrie, "Cocaine Blues"] That doesn't appear on many later recordings either, but it did clearly influence yet another song -- Mose Allison's classic jazz number "Parchman Farm": [Excerpt: Mose Allison, "Parchman Farm"] The most famous recordings of the song, though, were by Johnny Cash, who recorded it as both "Cocaine Blues" and as "Transfusion Blues". In Cash's version of the song, the murderer gets sentenced to "ninety-nine years in the Folsom pen", so it made sense that Cash would perform that on his most famous album, the live album of his January 1968 concerts at Folsom Prison, which revitalised his career after several years of limited success: [Excerpt: Johnny Cash, "Cocaine Blues (live at Folsom Prison)"] While that was Cash's first live recording at a prison, though, it wasn't the first show he played at a prison -- ever since the success of his single "Folsom Prison Blues" he'd been something of a hero to prisoners, and he had been doing shows in prisons for eleven years by the time of that recording. And on one of those shows he had as his support act a man named Billy Roberts, who performed his own song which followed the same broad outlines as "Cocaine Blues" -- a man with a forty-four who goes out to shoot his woman and then escapes to Mexico. Roberts was an obscure folk singer, who never had much success, but who was good with people. He'd been part of the Greenwich Village folk scene in the 1950s, and at a gig at Gerde's Folk City he'd met a woman named Niela Miller, an aspiring songwriter, and had struck up a relationship with her. Miller only ever wrote one song that got recorded by anyone else, a song called "Mean World Blues" that was recorded by Dave Van Ronk: [Excerpt: Dave Van Ronk, "Mean World Blues"] Now, that's an original song, but it does bear a certain melodic resemblance to another old folk song, one known as "Where Did You Sleep Last Night?" or "In the Pines", or sometimes "Black Girl": [Excerpt: Lead Belly, "Where Did You Sleep Last Night?"] Miller was clearly familiar with the tradition from which "Where Did You Sleep Last Night?" comes -- it's a type of folk song where someone asks a question and then someone else answers it, and this repeats, building up a story. This is a very old folk song format, and you hear it for example in "Lord Randall", the song on which Bob Dylan based "A Hard Rain's A-Gonna Fall": [Excerpt: Ewan MacColl, "Lord Randall"] I say she was clearly familiar with it, because the other song she wrote that anyone's heard was based very much around that idea. "Baby Please Don't Go To Town" is a question-and-answer song in precisely that form, but with an unusual chord progression for a folk song. You may remember back in the episode on "Eight Miles High" I talked about the circle of fifths -- a chord progression which either increases or decreases by a fifth for every chord, so it might go C-G-D-A-E [demonstrates] That's a common progression in pop and jazz, but not really so much in folk, but it's the one that Miller had used for "Baby, Please Don't Go to Town", and she'd taught Roberts that song, which she only recorded much later: [Excerpt: Niela Miller, "Baby, Please Don't Go To Town"] After Roberts and Miller broke up, Miller kept playing that melody, but he changed the lyrics. The lyrics he added had several influences. There was that question-and-answer folk-song format, there's the story of "Cocaine Blues" with its protagonist getting a forty-four to shoot his woman down before heading to Mexico, and there's also a country hit from 1953. "Hey, Joe!" was originally recorded by Carl Smith, one of the most popular country singers of the early fifties: [Excerpt: Carl Smith, "Hey Joe!"] That was written by Boudleaux Bryant, a few years before the songs he co-wrote for the Everly Brothers, and became a country number one, staying at the top for eight weeks. It didn't make the pop chart, but a pop cover version of it by Frankie Laine made the top ten in the US: [Excerpt: Frankie Laine, "Hey Joe"] Laine's record did even better in the UK, where it made number one, at a point where Laine was the biggest star in music in Britain -- at the time the UK charts only had a top twelve, and at one point four of the singles in the top twelve were by Laine, including that one. There was also an answer record by Kitty Wells which made the country top ten later that year: [Excerpt: Kitty Wells, "Hey Joe"] Oddly, despite it being a very big hit, that "Hey Joe" had almost no further cover versions for twenty years, though it did become part of the Searchers' setlist, and was included on their Live at the Star Club album in 1963, in an arrangement that owed a lot to "What'd I Say": [Excerpt: The Searchers, "Hey Joe"] But that song was clearly on Roberts' mind when, as so many American folk musicians did, he travelled to the UK in the late fifties and became briefly involved in the burgeoning UK folk movement. In particular, he spent some time with a twelve-string guitar player from Edinburgh called Len Partridge, who was also a mentor to Bert Jansch, and who was apparently an extraordinary musician, though I know of no recordings of his work. Partridge helped Roberts finish up the song, though Partridge is about the only person in this story who *didn't* claim a writing credit for it at one time or another, saying that he just helped Roberts out and that Roberts deserved all the credit. The first known recording of the completed song is from 1962, a few years after Roberts had returned to the US, though it didn't surface until decades later: [Excerpt: Billy Roberts, "Hey Joe"] Roberts was performing this song regularly on the folk circuit, and around the time of that recording he also finally got round to registering the copyright, several years after it was written. When Miller heard the song, she was furious, and she later said "Imagine my surprise when I heard Hey Joe by Billy Roberts. There was my tune, my chord progression, my question/answer format. He dropped the bridge that was in my song and changed it enough so that the copyright did not protect me from his plagiarism... I decided not to go through with all the complications of dealing with him. He never contacted me about it or gave me any credit. He knows he committed a morally reprehensible act. He never was man enough to make amends and apologize to me, or to give credit for the inspiration. Dealing with all that was also why I made the decision not to become a professional songwriter. It left a bad taste in my mouth.” Pete Seeger, a friend of Miller's, was outraged by the injustice and offered to testify on her behalf should she decide to take Roberts to court, but she never did. Some time around this point, Roberts also played on that prison bill with Johnny Cash, and what happened next is hard to pin down. I've read several different versions of the story, which change the date and which prison this was in, and none of the details in any story hang together properly -- everything introduces weird inconsistencies and things which just make no sense at all. Something like this basic outline of the story seems to have happened, but the outline itself is weird, and we'll probably never know the truth. Roberts played his set, and one of the songs he played was "Hey Joe", and at some point he got talking to one of the prisoners in the audience, Dino Valenti. We've met Valenti before, in the episode on "Mr. Tambourine Man" -- he was a singer/songwriter himself, and would later be the lead singer of Quicksilver Messenger Service, but he's probably best known for having written "Get Together": [Excerpt: Dino Valenti, "Get Together"] As we heard in the "Mr. Tambourine Man" episode, Valenti actually sold off his rights to that song to pay for his bail at one point, but he was in and out of prison several times because of drug busts. At this point, or so the story goes, he was eligible for parole, but he needed to prove he had a possible income when he got out, and one way he wanted to do that was to show that he had written a song that could be a hit he could make money off, but he didn't have such a song. He talked about his predicament with Roberts, who agreed to let him claim to have written "Hey Joe" so he could get out of prison. He did make that claim, and when he got out of prison he continued making the claim, and registered the copyright to "Hey Joe" in his own name -- even though Roberts had already registered it -- and signed a publishing deal for it with Third Story Music, a company owned by Herb Cohen, the future manager of the Mothers of Invention, and Cohen's brother Mutt. Valenti was a popular face on the folk scene, and he played "his" song to many people, but two in particular would influence the way the song would develop, both of them people we've seen relatively recently in episodes of the podcast. One of them, Vince Martin, we'll come back to later, but the other was David Crosby, and so let's talk about him and the Byrds a bit more. Crosby and Valenti had been friends long before the Byrds formed, and indeed we heard in the "Mr. Tambourine Man" episode how the group had named themselves after Valenti's song "Birdses": [Excerpt: Dino Valenti, "Birdses"] And Crosby *loved* "Hey Joe", which he believed was another of Valenti's songs. He'd perform it every chance he got, playing it solo on guitar in an arrangement that other people have compared to Mose Allison. He'd tried to get it on the first two Byrds albums, but had been turned down, mostly because of their manager and uncredited co-producer Jim Dickson, who had strong opinions about it, saying later "Some of the songs that David would bring in from the outside were perfectly valid songs for other people, but did not seem to be compatible with the Byrds' myth. And he may not have liked the Byrds' myth. He fought for 'Hey Joe' and he did it. As long as I could say 'No!' I did, and when I couldn't any more they did it. You had to give him something somewhere. I just wish it was something else... 'Hey Joe' I was bitterly opposed to. A song about a guy who murders his girlfriend in a jealous rage and is on the way to Mexico with a gun in his hand. It was not what I saw as a Byrds song." Indeed, Dickson was so opposed to the song that he would later say “One of the reasons David engineered my getting thrown out was because I would not let Hey Joe be on the Turn! Turn! Turn! album.” Dickson was, though, still working with the band when they got round to recording it. That came during the recording of their Fifth Dimension album, the album which included "Eight Miles High". That album was mostly recorded after the departure of Gene Clark, which was where we left the group at the end of the "Eight Miles High" episode, and the loss of their main songwriter meant that they were struggling for material -- doubly so since they also decided they were going to move away from Dylan covers. This meant that they had to rely on original material from the group's less commercial songwriters, and on a few folk songs, mostly learned from Pete Seeger The album ended up with only eleven songs on it, compared to the twelve that was normal for American albums at that time, and the singles on it after "Eight Miles High" weren't particularly promising as to the group's ability to come up with commercial material. The next single, "5D", a song by Roger McGuinn about the fifth dimension, was a waltz-time song that both Crosby and Chris Hillman were enthused by. It featured organ by Van Dyke Parks, and McGuinn said of the organ part "When he came into the studio I told him to think Bach. He was already thinking Bach before that anyway.": [Excerpt: The Byrds, "5D"] While the group liked it, though, that didn't make the top forty. The next single did, just about -- a song that McGuinn had written as an attempt at communicating with alien life. He hoped that it would be played on the radio, and that the radio waves would eventually reach aliens, who would hear it and respond: [Excerpt: The Byrds, "Mr. Spaceman"] The "Fifth Dimension" album did significantly worse, both critically and commercially, than their previous albums, and the group would soon drop Allen Stanton, the producer, in favour of Gary Usher, Brian Wilson's old songwriting partner. But the desperation for material meant that the group agreed to record the song which they still thought at that time had been written by Crosby's friend, though nobody other than Crosby was happy with it, and even Crosby later said "It was a mistake. I shouldn't have done it. Everybody makes mistakes." McGuinn said later "The reason Crosby did lead on 'Hey Joe' was because it was *his* song. He didn't write it but he was responsible for finding it. He'd wanted to do it for years but we would never let him.": [Excerpt: The Byrds, "Hey Joe"] Of course, that arrangement is very far from the Mose Allison style version Crosby had been doing previously. And the reason for that can be found in the full version of that McGuinn quote, because the full version continues "He'd wanted to do it for years but we would never let him. Then both Love and The Leaves had a minor hit with it and David got so angry that we had to let him do it. His version wasn't that hot because he wasn't a strong lead vocalist." The arrangement we just heard was the arrangement that by this point almost every group on the Sunset Strip scene was playing. And the reason for that was because of another friend of Crosby's, someone who had been a roadie for the Byrds -- Bryan MacLean. MacLean and Crosby had been very close because they were both from very similar backgrounds -- they were both Hollywood brats with huge egos. MacLean later said "Crosby and I got on perfectly. I didn't understand what everybody was complaining about, because he was just like me!" MacLean was, if anything, from an even more privileged background than Crosby. His father was an architect who'd designed houses for Elizabeth Taylor and Dean Martin, his neighbour when growing up was Frederick Loewe, the composer of My Fair Lady. He learned to swim in Elizabeth Taylor's private pool, and his first girlfriend was Liza Minelli. Another early girlfriend was Jackie DeShannon, the singer-songwriter who did the original version of "Needles and Pins", who he was introduced to by Sharon Sheeley, whose name you will remember from many previous episodes. MacLean had wanted to be an artist until his late teens, when he walked into a shop in Westwood which sometimes sold his paintings, the Sandal Shop, and heard some people singing folk songs there. He decided he wanted to be a folk singer, and soon started performing at the Balladeer, a club which would later be renamed the Troubadour, playing songs like Robert Johnson's "Cross Roads Blues", which had recently become a staple of the folk repertoire after John Hammond put out the King of the Delta Blues Singers album: [Excerpt: Robert Johnson, "Cross Roads Blues"] Reading interviews with people who knew MacLean at the time, the same phrase keeps coming up. John Kay, later the lead singer of Steppenwolf, said "There was a young kid, Bryan MacLean, kind of cocky but nonetheless a nice kid, who hung around Crosby and McGuinn" while Chris Hillman said "He was a pretty good kid but a wee bit cocky." He was a fan of the various musicians who later formed the Byrds, and was also an admirer of a young guitarist on the scene named Ryland Cooder, and of a blues singer on the scene named Taj Mahal. He apparently was briefly in a band with Taj Mahal, called Summer's Children, who as far as I can tell had no connection to the duo that Curt Boettcher later formed of the same name, before Taj Mahal and Cooder formed The Rising Sons, a multi-racial blues band who were for a while the main rivals to the Byrds on the scene. MacLean, though, firmly hitched himself to the Byrds, and particularly to Crosby. He became a roadie on their first tour, and Hillman said "He was a hard-working guy on our behalf. As I recall, he pretty much answered to Crosby and was David's assistant, to put it diplomatically – more like his gofer, in fact." But MacLean wasn't cut out for the hard work that being a roadie required, and after being the Byrds' roadie for about thirty shows, he started making mistakes, and when they went off on their UK tour they decided not to keep employing him. He was heartbroken, but got back into trying his own musical career. He auditioned for the Monkees, unsuccessfully, but shortly after that -- some sources say even the same day as the audition, though that seems a little too neat -- he went to Ben Frank's -- the LA hangout that had actually been namechecked in the open call for Monkees auditions, which said they wanted "Ben Franks types", and there he met Arthur Lee and Johnny Echols. Echols would later remember "He was this gadfly kind of character who knew everybody and was flitting from table to table. He wore striped pants and a scarf, and he had this long, strawberry hair. All the girls loved him. For whatever reason, he came and sat at our table. Of course, Arthur and I were the only two black people there at the time." Lee and Echols were both Black musicians who had been born in Memphis. Lee's birth father, Chester Taylor, had been a cornet player with Jimmie Lunceford, whose Delta Rhythm Boys had had a hit with "The Honeydripper", as we heard way back in the episode on "Rocket '88": [Excerpt: Jimmie Lunceford and the Delta Rhythm Boys, "The Honeydripper"] However, Taylor soon split from Lee's mother, a schoolteacher, and she married Clinton Lee, a stonemason, who doted on his adopted son, and they moved to California. They lived in a relatively prosperous area of LA, a neighbourhood that was almost all white, with a few Asian families, though the boxer Sugar Ray Robinson lived nearby. A year or so after Arthur and his mother moved to LA, so did the Echols family, who had known them in Memphis, and they happened to move only a couple of streets away. Eight year old Arthur Lee reconnected with seven-year-old Johnny Echols, and the two became close friends from that point on. Arthur Lee first started out playing music when his parents were talked into buying him an accordion by a salesman who would go around with a donkey, give kids free donkey rides, and give the parents a sales pitch while they were riding the donkey, He soon gave up on the accordion and persuaded his parents to buy him an organ instead -- he was a spoiled child, by all accounts, with a TV in his bedroom, which was almost unheard of in the late fifties. Johnny Echols had a similar experience which led to his parents buying him a guitar, and the two were growing up in a musical environment generally. They attended Dorsey High School at the same time as both Billy Preston and Mike Love of the Beach Boys, and Ella Fitzgerald and her then-husband, the great jazz bass player Ray Brown, lived in the same apartment building as the Echols family for a while. Ornette Coleman, the free-jazz saxophone player, lived next door to Echols, and Adolphus Jacobs, the guitarist with the Coasters, gave him guitar lessons. Arthur Lee also knew Johnny Otis, who ran a pigeon-breeding club for local children which Arthur would attend. Echols was the one who first suggested that he and Arthur should form a band, and they put together a group to play at a school talent show, performing "Last Night", the instrumental that had been a hit for the Mar-Keys on Stax records: [Excerpt: The Mar-Keys, "Last Night"] They soon became a regular group, naming themselves Arthur Lee and the LAGs -- the LA Group, in imitation of Booker T and the MGs – the Memphis Group. At some point around this time, Lee decided to switch from playing organ to playing guitar. He would say later that this was inspired by seeing Johnny "Guitar" Watson get out of a gold Cadillac, wearing a gold suit, and with gold teeth in his mouth. The LAGs started playing as support acts and backing bands for any blues and soul acts that came through LA, performing with Big Mama Thornton, Johnny Otis, the O'Jays, and more. Arthur and Johnny were both still under-age, and they would pencil in fake moustaches to play the clubs so they'd appear older. In the fifties and early sixties, there were a number of great electric guitar players playing blues on the West Coast -- Johnny "Guitar" Watson, T-Bone Walker, Guitar Slim, and others -- and they would compete with each other not only to play well, but to put on a show, and so there was a whole bag of stage tricks that West Coast R&B guitarists picked up, and Echols learned all of them -- playing his guitar behind his back, playing his guitar with his teeth, playing with his guitar between his legs. As well as playing their own shows, the LAGs also played gigs under other names -- they had a corrupt agent who would book them under the name of whatever Black group had a hit at the time, in the belief that almost nobody knew what popular groups looked like anyway, so they would go out and perform as the Drifters or the Coasters or half a dozen other bands. But Arthur Lee in particular wanted to have success in his own right. He would later say "When I was a little boy I would listen to Nat 'King' Cole and I would look at that purple Capitol Records logo. I wanted to be on Capitol, that was my goal. Later on I used to walk from Dorsey High School all the way up to the Capitol building in Hollywood -- did that many times. I was determined to get a record deal with Capitol, and I did, without the help of a fancy manager or anyone else. I talked to Adam Ross and Jack Levy at Ardmore-Beechwood. I talked to Kim Fowley, and then I talked to Capitol". The record that the LAGs released, though, was not very good, a track called "Rumble-Still-Skins": [Excerpt: The LAGs, "Rumble-Still-Skins"] Lee later said "I was young and very inexperienced and I was testing the record company. I figured if I gave them my worst stuff and they ripped me off I wouldn't get hurt. But it didn't work, and after that I started giving my best, and I've been doing that ever since." The LAGs were dropped by Capitol after one single, and for the next little while Arthur and Johnny did work for smaller labels, usually labels owned by Bob Keane, with Arthur writing and producing and Johnny playing guitar -- though Echols has said more recently that a lot of the songs that were credited to Arthur as sole writer were actually joint compositions. Most of these records were attempts at copying the style of other people. There was "I Been Trying", a Phil Spector soundalike released by Little Ray: [Excerpt: Little Ray, "I Been Trying"] And there were a few attempts at sounding like Curtis Mayfield, like "Slow Jerk" by Ronnie and the Pomona Casuals: [Excerpt: Ronnie and the Pomona Casuals, "Slow Jerk"] and "My Diary" by Rosa Lee Brooks: [Excerpt: Rosa Lee Brooks, "My Diary"] Echols was also playing with a lot of other people, and one of the musicians he was playing with, his old school friend Billy Preston, told him about a recent European tour he'd been on with Little Richard, and the band from Liverpool he'd befriended while he was there who idolised Richard, so when the Beatles hit America, Arthur and Johnny had some small amount of context for them. They soon broke up the LAGs and formed another group, the American Four, with two white musicians, bass player John Fleckenstein and drummer Don Costa. Lee had them wear wigs so they seemed like they had longer hair, and started dressing more eccentrically -- he would soon become known for wearing glasses with one blue lens and one red one, and, as he put it "wearing forty pounds of beads, two coats, three shirts, and wearing two pairs of shoes on one foot". As well as the Beatles, the American Four were inspired by the other British Invasion bands -- Arthur was in the audience for the TAMI show, and quite impressed by Mick Jagger -- and also by the Valentinos, Bobby Womack's group. They tried to get signed to SAR Records, the label owned by Sam Cooke for which the Valentinos recorded, but SAR weren't interested, and they ended up recording for Bob Keane's Del-Fi records, where they cut "Luci Baines", a "Twist and Shout" knock-off with lyrics referencing the daughter of new US President Lyndon Johnson: [Excerpt: The American Four, "Luci Baines"] But that didn't take off any more than the earlier records had. Another American Four track, "Stay Away", was recorded but went unreleased until 2006: [Excerpt: Arthur Lee and the American Four, "Stay Away"] Soon the American Four were changing their sound and name again. This time it was because of two bands who were becoming successful on the Sunset Strip. One was the Byrds, who to Lee's mind were making music like the stuff he heard in his head, and the other was their rivals the Rising Sons, the blues band we mentioned earlier with Taj Mahal and Ry Cooder. Lee was very impressed by them as an multiracial band making aggressive, loud, guitar music, though he would always make the point when talking about them that they were a blues band, not a rock band, and *he* had the first multiracial rock band. Whatever they were like live though, in their recordings, produced by the Byrds' first producer Terry Melcher, the Rising Sons often had the same garage band folk-punk sound that Lee and Echols would soon make their own: [Excerpt: The Rising Sons, "Take a Giant Step"] But while the Rising Sons recorded a full album's worth of material, only one single was released before they split up, and so the way was clear for Lee and Echols' band, now renamed once again to The Grass Roots, to become the Byrds' new challengers. Lee later said "I named the group The Grass Roots behind a trip, or an album I heard that Malcolm X did, where he said 'the grass roots of the people are out in the street doing something about their problems instead of sitting around talking about it'". After seeing the Rolling Stones and the Byrds live, Lee wanted to get up front and move like Mick Jagger, and not be hindered by playing a guitar he wasn't especially good at -- both the Stones and the Byrds had two guitarists and a frontman who just sang and played hand percussion, and these were the models that Lee was following for the group. He also thought it would be a good idea commercially to get a good-looking white boy up front. So the group got in another guitarist, a white pretty boy who Lee soon fell out with and gave the nickname "Bummer Bob" because he was unpleasant to be around. Those of you who know exactly why Bobby Beausoleil later became famous will probably agree that this was a more than reasonable nickname to give him (and those of you who don't, I'll be dealing with him when we get to 1969). So when Bryan MacLean introduced himself to Lee and Echols, and they found out that not only was he also a good-looking white guitarist, but he was also friends with the entire circle of hipsters who'd been going to Byrds gigs, people like Vito and Franzoni, and he could get a massive crowd of them to come along to gigs for any band he was in and make them the talk of the Sunset Strip scene, he was soon in the Grass Roots, and Bummer Bob was out. The Grass Roots soon had to change their name again, though. In 1965, Jan and Dean recorded their "Folk and Roll" album, which featured "The Universal Coward"... Which I am not going to excerpt again. I only put that pause in to terrify Tilt, who edits these podcasts, and has very strong opinions about that song. But P. F. Sloan and Steve Barri, the songwriters who also performed as the Fantastic Baggies, had come up with a song for that album called "Where Where You When I Needed You?": [Excerpt: Jan and Dean, "Where Were You When I Needed You?"] Sloan and Barri decided to cut their own version of that song under a fake band name, and then put together a group of other musicians to tour as that band. They just needed a name, and Lou Adler, the head of Dunhill Records, suggested they call themselves The Grass Roots, and so that's what they did: [Excerpt: The Grass Roots, "Where Were You When I Needed You?"] Echols would later claim that this was deliberate malice on Adler's part -- that Adler had come in to a Grass Roots show drunk, and pretended to be interested in signing them to a contract, mostly to show off to a woman he'd brought with him. Echols and MacLean had spoken to him, not known who he was, and he'd felt disrespected, and Echols claims that he suggested the name to get back at them, and also to capitalise on their local success. The new Grass Roots soon started having hits, and so the old band had to find another name, which they got as a joking reference to a day job Lee had had at one point -- he'd apparently worked in a specialist bra shop, Luv Brassieres, which the rest of the band found hilarious. The Grass Roots became Love. While Arthur Lee was the group's lead singer, Bryan MacLean would often sing harmonies, and would get a song or two to sing live himself. And very early in the group's career, when they were playing a club called Bido Lito's, he started making his big lead spot a version of "Hey Joe", which he'd learned from his old friend David Crosby, and which soon became the highlight of the group's set. Their version was sped up, and included the riff which the Searchers had popularised in their cover version of "Needles and Pins", the song originally recorded by MacLean's old girlfriend Jackie DeShannon: [Excerpt: The Searchers, "Needles and Pins"] That riff is a very simple one to play, and variants of it became very, very, common among the LA bands, most notably on the Byrds' "I'll Feel a Whole Lot Better": [Excerpt: The Byrds, "I'll Feel a Whole Lot Better"] The riff was so ubiquitous in the LA scene that in the late eighties Frank Zappa would still cite it as one of his main memories of the scene. I'm going to quote from his autobiography, where he's talking about the differences between the LA scene he was part of and the San Francisco scene he had no time for: "The Byrds were the be-all and end-all of Los Angeles rock then. They were 'It' -- and then a group called Love was 'It.' There were a few 'psychedelic' groups that never really got to be 'It,' but they could still find work and get record deals, including the West Coast Pop Art Experimental Band, Sky Saxon and the Seeds, and the Leaves (noted for their cover version of "Hey, Joe"). When we first went to San Francisco, in the early days of the Family Dog, it seemed that everybody was wearing the same costume, a mixture of Barbary Coast and Old West -- guys with handlebar mustaches, girls in big bustle dresses with feathers in their hair, etc. By contrast, the L.A. costumery was more random and outlandish. Musically, the northern bands had a little more country style. In L.A., it was folk-rock to death. Everything had that" [and here Zappa uses the adjectival form of a four-letter word beginning with 'f' that the main podcast providers don't like you saying on non-adult-rated shows] "D chord down at the bottom of the neck where you wiggle your finger around -- like 'Needles and Pins.'" The reason Zappa describes it that way, and the reason it became so popular, is that if you play that riff in D, the chords are D, Dsus2, and Dsus4 which means you literally only wiggle one finger on your left hand: [demonstrates] And so you get that on just a ton of records from that period, though Love, the Byrds, and the Searchers all actually play the riff on A rather than D: [demonstrates] So that riff became the Big Thing in LA after the Byrds popularised the Searchers sound there, and Love added it to their arrangement of "Hey Joe". In January 1966, the group would record their arrangement of it for their first album, which would come out in March: [Excerpt: Love, "Hey Joe"] But that wouldn't be the first recording of the song, or of Love's arrangement of it – although other than the Byrds' version, it would be the only one to come out of LA with the original Billy Roberts lyrics. Love's performances of the song at Bido Lito's had become the talk of the Sunset Strip scene, and soon every band worth its salt was copying it, and it became one of those songs like "Louie Louie" before it that everyone would play. The first record ever made with the "Hey Joe" melody actually had totally different lyrics. Kim Fowley had the idea of writing a sequel to "Hey Joe", titled "Wanted Dead or Alive", about what happened after Joe shot his woman and went off. He produced the track for The Rogues, a group consisting of Michael Lloyd and Shaun Harris, who later went on to form the West Coast Pop Art Experimental Band, and Lloyd and Harris were the credited writers: [Excerpt: The Rogues, "Wanted Dead or Alive"] The next version of the song to come out was the first by anyone to be released as "Hey Joe", or at least as "Hey Joe, Where You Gonna Go?", which was how it was titled on its initial release. This was by a band called The Leaves, who were friends of Love, and had picked up on "Hey Joe", and was produced by Nik Venet. It was also the first to have the now-familiar opening line "Hey Joe, where you going with that gun in your hand?": [Excerpt: The Leaves, "Hey Joe Where You Gonna Go?"] Roberts' original lyric, as sung by both Love and the Byrds, had been "where you going with that money in your hand?", and had Joe headed off to *buy* the gun. But as Echols later said “What happened was Bob Lee from The Leaves, who were friends of ours, asked me for the words to 'Hey Joe'. I told him I would have the words the next day. I decided to write totally different lyrics. The words you hear on their record are ones I wrote as a joke. The original words to Hey Joe are ‘Hey Joe, where you going with that money in your hand? Well I'm going downtown to buy me a blue steel .44. When I catch up with that woman, she won't be running round no more.' It never says ‘Hey Joe where you goin' with that gun in your hand.' Those were the words I wrote just because I knew they were going to try and cover the song before we released it. That was kind of a dirty trick that I played on The Leaves, which turned out to be the words that everybody uses.” That first release by the Leaves also contained an extra verse -- a nod to Love's previous name: [Excerpt: The Leaves, "Hey Joe Where You Gonna Go?"] That original recording credited the song as public domain -- apparently Bryan MacLean had refused to tell the Leaves who had written the song, and so they assumed it was traditional. It came out in November 1965, but only as a promo single. Even before the Leaves, though, another band had recorded "Hey Joe", but it didn't get released. The Sons of Adam had started out as a surf group called the Fender IV, who made records like "Malibu Run": [Excerpt: The Fender IV, "Malibu Run"] Kim Fowley had suggested they change their name to the Sons of Adam, and they were another group who were friends with Love -- their drummer, Michael Stuart-Ware, would later go on to join Love, and Arthur Lee wrote the song "Feathered Fish" for them: [Excerpt: Sons of Adam, "Feathered Fish"] But while they were the first to record "Hey Joe", their version has still to this day not been released. Their version was recorded for Decca, with producer Gary Usher, but before it was released, another Decca artist also recorded the song, and the label weren't sure which one to release. And then the label decided to press Usher to record a version with yet another act -- this time with the Surfaris, the surf group who had had a hit with "Wipe Out". Coincidentally, the Surfaris had just changed bass players -- their most recent bass player, Ken Forssi, had quit and joined Love, whose own bass player, John Fleckenstein, had gone off to join the Standells, who would also record a version of “Hey Joe” in 1966. Usher thought that the Sons of Adam were much better musicians than the Surfaris, who he was recording with more or less under protest, but their version, using Love's arrangement and the "gun in your hand" lyrics, became the first version to come out on a major label: [Excerpt: The Surfaris, "Hey Joe"] They believed the song was in the public domain, and so the songwriting credits on the record are split between Gary Usher, a W. Hale who nobody has been able to identify, and Tony Cost, a pseudonym for Nik Venet. Usher said later "I got writer's credit on it because I was told, or I assumed at the time, the song was Public Domain; meaning a non-copyrighted song. It had already been cut two or three times, and on each occasion the writing credit had been different. On a traditional song, whoever arranges it, takes the songwriting credit. I may have changed a few words and arranged and produced it, but I certainly did not co-write it." The public domain credit also appeared on the Leaves' second attempt to cut the song, which was actually given a general release, but flopped. But when the Leaves cut the song for a *third* time, still for the same tiny label, Mira, the track became a hit in May 1966, reaching number thirty-one: [Excerpt: The Leaves, "Hey Joe"] And *that* version had what they thought was the correct songwriting credit, to Dino Valenti. Which came as news to Billy Roberts, who had registered the copyright to the song back in 1962 and had no idea that it had become a staple of LA garage rock until he heard his song in the top forty with someone else's name on the credits. He angrily confronted Third Story Music, who agreed to a compromise -- they would stop giving Valenti songwriting royalties and start giving them to Roberts instead, so long as he didn't sue them and let them keep the publishing rights. Roberts was indignant about this -- he deserved all the money, not just half of it -- but he went along with it to avoid a lawsuit he might not win. So Roberts was now the credited songwriter on the versions coming out of the LA scene. But of course, Dino Valenti had been playing "his" song to other people, too. One of those other people was Vince Martin. Martin had been a member of a folk-pop group called the Tarriers, whose members also included the future film star Alan Arkin, and who had had a hit in the 1950s with "Cindy, Oh Cindy": [Excerpt: The Tarriers, "Cindy, Oh Cindy"] But as we heard in the episode on the Lovin' Spoonful, he had become a Greenwich Village folkie, in a duo with Fred Neil, and recorded an album with him, "Tear Down the Walls": [Excerpt: Fred Neil and Vince Martin, "Morning Dew"] That song we just heard, "Morning Dew", was another question-and-answer folk song. It was written by the Canadian folk-singer Bonnie Dobson, but after Martin and Neil recorded it, it was picked up on by Martin's friend Tim Rose who stuck his own name on the credits as well, without Dobson's permission, for a version which made the song into a rock standard for which he continued to collect royalties: [Excerpt: Tim Rose, "Morning Dew"] This was something that Rose seems to have made a habit of doing, though to be fair to him it went both ways. We heard about him in the Lovin' Spoonful episode too, when he was in a band named the Big Three with Cass Elliot and her coincidentally-named future husband Jim Hendricks, who recorded this song, with Rose putting new music to the lyrics of the old public domain song "Oh! Susanna": [Excerpt: The Big Three, "The Banjo Song"] The band Shocking Blue used that melody for their 1969 number-one hit "Venus", and didn't give Rose any credit: [Excerpt: Shocking Blue, "Venus"] But another song that Rose picked up from Vince Martin was "Hey Joe". Martin had picked the song up from Valenti, but didn't know who had written it, or who was claiming to have written it, and told Rose he thought it might be an old Appalchian murder ballad or something. Rose took the song and claimed writing credit in his own name -- he would always, for the rest of his life, claim it was an old folk tune he'd heard in Florida, and that he'd rewritten it substantially himself, but no evidence of the song has ever shown up from prior to Roberts' copyright registration, and Rose's version is basically identical to Roberts' in melody and lyrics. But Rose takes his version at a much slower pace, and his version would be the model for the most successful versions going forward, though those other versions would use the lyrics Johnny Echols had rewritten, rather than the ones Rose used: [Excerpt: Tim Rose, "Hey Joe"] Rose's version got heard across the Atlantic as well. And in particular it was heard by Chas Chandler, the bass player of the Animals. Some sources seem to suggest that Chandler first heard the song performed by a group called the Creation, but in a biography I've read of that group they clearly state that they didn't start playing the song until 1967. But however he came across it, when Chandler heard Rose's recording, he knew that the song could be a big hit for someone, but he didn't know who. And then he bumped into Linda Keith, Keith Richards' girlfriend, who took him to see someone whose guitar we've already heard in this episode: [Excerpt: Rosa Lee Brooks, "My Diary"] The Curtis Mayfield impression on guitar there was, at least according to many sources the first recording session ever played on by a guitarist then calling himself Maurice (or possibly Mo-rees) James. We'll see later in the story that it possibly wasn't his first -- there are conflicting accounts, as there are about a lot of things, and it was recorded either in very early 1964, in which case it was his first, or (as seems more likely, and as I tell the story later) a year later, in which case he'd played on maybe half a dozen tracks in the studio by that point. But it was still a very early one. And by late 1966 that guitarist had reverted to the name by which he was brought up, and was calling himself Jimi Hendrix. Hendrix and Arthur Lee had become close, and Lee would later claim that Hendrix had copied much of Lee's dress style and attitude -- though many of Hendrix's other colleagues and employers, including Little Richard, would make similar claims -- and most of them had an element of truth, as Lee's did. Hendrix was a sponge. But Lee did influence him. Indeed, one of Hendrix's *last* sessions, in March 1970, was guesting on an album by Love: [Excerpt: Love with Jimi Hendrix, "Everlasting First"] Hendrix's name at birth was Johnny Allen Hendrix, which made his father, James Allen Hendrix, known as Al, who was away at war when his son was born, worry that he'd been named after another man who might possibly be the real father, so the family just referred to the child as "Buster" to avoid the issue. When Al Hendrix came back from the war the child was renamed James Marshall Hendrix -- James after Al's first name, Marshall after Al's dead brother -- though the family continued calling him "Buster". Little James Hendrix Junior didn't have anything like a stable home life. Both his parents were alcoholics, and Al Hendrix was frequently convinced that Jimi's mother Lucille was having affairs and became abusive about it. They had six children, four of whom were born disabled, and Jimi was the only one to remain with his parents -- the rest were either fostered or adopted at birth, fostered later on because the parents weren't providing a decent home life, or in one case made a ward of state because the Hendrixes couldn't afford to pay for a life-saving operation for him. The only one that Jimi had any kind of regular contact with was the second brother, Leon, his parents' favourite, who stayed with them for several years before being fostered by a family only a few blocks away. Al and Lucille Hendrix frequently split and reconciled, and while they were ostensibly raising Jimi (and for a few years Leon), he was shuttled between them and various family members and friends, living sometimes in Seattle where his parents lived and sometimes in Vancouver with his paternal grandmother. He was frequently malnourished, and often survived because friends' families fed him. Al Hendrix was also often physically and emotionally abusive of the son he wasn't sure was his. Jimi grew up introverted, and stuttering, and only a couple of things seemed to bring him out of his shell. One was science fiction -- he always thought that his nickname, Buster, came from Buster Crabbe, the star of the Flash Gordon serials he loved to watch, though in fact he got the nickname even before that interest developed, and he was fascinated with ideas about aliens and UFOs -- and the other was music. Growing up in Seattle in the forties and fifties, most of the music he was exposed to as a child and in his early teens was music made by and for white people -- there wasn't a very large Black community in the area at the time compared to most major American cities, and so there were no prominent R&B stations. As a kid he loved the music of Bob Wills and the Texas Playboys, and when he was thirteen Jimi's favourite record was Dean Martin's "Memories are Made of This": [Excerpt: Dean Martin, "Memories are Made of This"] He also, like every teenager, became a fan of rock and roll music. When Elvis played at a local stadium when Jimi was fifteen, he couldn't afford a ticket, but he went and sat on top of a nearby hill and watched the show from the distance. Jimi's first exposure to the blues also came around this time, when his father briefly took in lodgers, Cornell and Ernestine Benson, and Ernestine had a record collection that included records by Lightnin' Hopkins, Howlin' Wolf, and Muddy Waters, all of whom Jimi became a big fan of, especially Muddy Waters. The Bensons' most vivid memory of Jimi in later years was him picking up a broom and pretending to play guitar along with these records: [Excerpt: Muddy Waters, "Baby Please Don't Go"] Shortly after this, it would be Ernestine Benson who would get Jimi his very first guitar. By this time Jimi and Al had lost their home and moved into a boarding house, and the owner's son had an acoustic guitar with only one string that he was planning to throw out. When Jimi asked if he could have it instead of it being thrown out, the owner told him he could have it for five dollars. Al Hendrix refused to pay that much for it, but Ernestine Benson bought Jimi the guitar. She said later “He only had one string, but he could really make that string talk.” He started carrying the guitar on his back everywhere he went, in imitation of Sterling Hayden in the western Johnny Guitar, and eventually got some more strings for it and learned to play. He would play it left-handed -- until his father came in. His father had forced him to write with his right hand, and was convinced that left-handedness was the work of the devil, so Jimi would play left-handed while his father was somewhere else, but as soon as Al came in he would flip the guitar the other way up and continue playing the song he had been playing, now right-handed. Jimi's mother died when he was fifteen, after having been ill for a long time with drink-related problems, and Jimi and his brother didn't get to go to the funeral -- depending on who you believe, either Al gave Jimi the bus fare and told him to go by himself and Jimi was too embarrassed to go to the funeral alone on the bus, or Al actually forbade Jimi and Leon from going. After this, he became even more introverted than he was before, and he also developed a fascination with the idea of angels, convinced his mother now was one. Jimi started to hang around with a friend called Pernell Alexander, who also had a guitar, and they would play along together with Elmore James records. The two also went to see Little Richard and Bill Doggett perform live, and while Jimi was hugely introverted, he did start to build more friendships in the small Seattle music scene, including with Ron Holden, the man we talked about in the episode on "Louie Louie" who introduced that song to Seattle, and who would go on to record with Bruce Johnston for Bob Keane: [Excerpt: Ron Holden, "Gee But I'm Lonesome"] Eventually Ernestine Benson persuaded Al Hendrix to buy Jimi a decent electric guitar on credit -- Al also bought himself a saxophone at the same time, thinking he might play music with his son, but sent it back once the next payment became due. As well as blues and R&B, Jimi was soaking up the guitar instrumentals and garage rock that would soon turn into surf music. The first song he learned to play was "Tall Cool One" by the Fabulous Wailers, the local group who popularised a version of "Louie Louie" based on Holden's one: [Excerpt: The Fabulous Wailers, "Tall Cool One"] As we talked about in the "Louie Louie" episode, the Fabulous Wailers used to play at a venue called the Spanish Castle, and Jimi was a regular in the audience, later writing his song "Spanish Castle Magic" about those shows: [Excerpt: The Jimi Hendrix Experience, "Spanish Castle Magic"] He was also a big fan of Duane Eddy, and soon learned Eddy's big hits "Forty Miles of Bad Road", "Because They're Young", and "Peter Gunn" -- a song he would return to much later in his life: [Excerpt: Jimi Hendrix, "Peter Gunn/Catastrophe"] His career as a guitarist didn't get off to a great start -- the first night he played with his first band, he was meant to play two sets, but he was fired after the first set, because he was playing in too flashy a manner and showing off too much on stage. His girlfriend suggested that he might want to tone it down a little, but he said "That's not my style". This would be a common story for the next several years. After that false start, the first real band he was in was the Velvetones, with his friend Pernell Alexander. There were four guitarists, two piano players, horns and drums, and they dressed up with glitter stuck to their pants. They played Duane Eddy songs, old jazz numbers, and "Honky Tonk" by Bill Doggett, which became Hendrix's signature song with the band. [Excerpt: Bill Doggett, "Honky Tonk"] His father was unsupportive of his music career, and he left his guitar at Alexander's house because he was scared that his dad would smash it if he took it home. At the same time he was with the Velvetones, he was also playing with another band called the Rocking Kings, who got gigs around the Seattle area, including at the Spanish Castle. But as they left school, most of Hendrix's friends were joining the Army, in order to make a steady living, and so did he -- although not entirely by choice. He was arrested, twice, for riding in stolen cars, and he was given a choice -- either go to prison, or sign up for the Army for three years. He chose the latter. At first, the Army seemed to suit him. He was accepted into the 101st Airborne Division, the famous "Screaming Eagles", whose actions at D-Day made them legendary in the US, and he was proud to be a member of the Division. They were based out of Fort Campbell, the base near Clarksville we talked about a couple of episodes ago, and while he was there he met a bass player, Billy Cox, who he started playing with. As Cox and Hendrix were Black, and as Fort Campbell straddled the border between Kentucky and Tennessee, they had to deal with segregation and play to only Black audiences. And Hendrix quickly discovered that Black audiences in the Southern states weren't interested in "Louie Louie", Duane Eddy, and surf music, the stuff he'd been playing in Seattle. He had to instead switch to playing Albert King and Slim Harpo songs, but luckily he loved that music too. He also started singing at this point -- when Hendrix and Cox started playing together, in a trio called the Kasuals, they had no singer, and while Hendrix never liked his own voice, Cox was worse, and so Hendrix was stuck as the singer. The Kasuals started gigging around Clarksville, and occasionally further afield, places like Nashville, where Arthur Alexander would occasionally sit in with them. But Cox was about to leave the Army, and Hendrix had another two and a bit years to go, having enlisted for three years. They couldn't play any further away unless Hendrix got out of the Army, which he was increasingly unhappy in anyway, and so he did the only thing he could -- he pretended to be gay, and got discharged on medical grounds for homosexuality. In later years he would always pretend he'd broken his ankle parachuting from a plane. For the next few years, he would be a full-time guitarist, and spend the periods when he wasn't earning enough money from that leeching off women he lived with, moving from one to another as they got sick of him or ran out of money. The Kasuals expanded their lineup, adding a second guitarist, Alphonso Young, who would show off on stage by playing guitar with his teeth. Hendrix didn't like being upstaged by another guitarist, and quickly learned to do the same. One biography I've used as a source for this says that at this point, Billy Cox played on a session for King Records, for Frank Howard and the Commanders, and brought Hendrix along, but the producer thought that Hendrix's guitar was too frantic and turned his mic off. But other sources say the session Hendrix and Cox played on for the Commanders wasn't until three years later, and the record *sounds* like a 1965 record, not a 1962 one, and his guitar is very audible – and the record isn't on King. But we've not had any music to break up the narration for a little while, and it's a good track (which later became a Northern Soul favourite) so I'll play a section here, as either way it was certainly an early Hendrix session: [Excerpt: Frank Howard and the Commanders, "I'm So Glad"] This illustrates a general problem with Hendrix's life at this point -- he would flit between bands, playing with the same people at multiple points, nobody was taking detailed notes, and later, once he became famous, everyone wanted to exaggerate their own importance in his life, meaning that while the broad outlines of his life are fairly clear, any detail before late 1966 might be hopelessly wrong. But all the time, Hendrix was learning his craft. One story from around this time sums up both Hendrix's attitude to his playing -- he saw himself almost as much as a scientist as a musician -- and his slightly formal manner of speech. He challenged the best blues guitarist in Nashville to a guitar duel, and the audience actually laughed at Hendrix's playing, as he was totally outclassed. When asked what he was doing, he replied “I was simply trying to get that B.B. King tone down and my experiment failed.” Bookings for the King Kasuals dried up, and he went to Vancouver, where he spent a couple of months playing in a covers band, Bobby Taylor and the Vancouvers, whose lead guitarist was Tommy Chong, later to find fame as one half of Cheech and Chong. But he got depressed at how white Vancouver was, and travelled back down south to join a reconfigured King Kasuals, who now had a horn section. The new lineup of King Kasuals were playing the chitlin circuit and had to put on a proper show, and so Hendrix started using all the techniques he'd seen other guitarists on the circuit use -- playing with his teeth like Alphonso Young, the other guitarist in the band, playing with his guitar behind his back like T-Bone Walker, and playing with a fifty-foot cord that allowed him to walk into the crowd and out of the venue, still playing, like Guitar Slim used to. As well as playing with the King Kasuals, he started playing the circuit as a sideman. He got short stints with many of the second-tier acts on the circuit -- people who had had one or two hits, or were crowd-pleasers, but weren't massive stars, like Carla Thomas or Jerry Butler or Slim Harpo. The first really big name he played with was Solomon Burke, who when Hendrix joined his band had just released "Just Out of Reach (Of My Two Empty Arms)": [Excerpt: Solomon Burke, "Just Out of Reach (Of My Two Empty Arms)"] But he lacked discipline. “Five dates would go beautifully,” Burke later said, “and then at the next show, he'd go into this wild stuff that wasn't part of the song. I just couldn't handle it anymore.” Burke traded him to Otis Redding, who was on the same tour, for two horn players, but then Redding fired him a week later and they left him on the side of the road. He played in the backing band for the Marvelettes, on a tour with Curtis Mayfield, who would be another of Hendrix's biggest influences, but he accidentally blew up Mayfield's amp and got sacked. On another tour, Cecil Womack threw Hendrix's guitar off the bus while he slept. In February 1964 he joined the band of the Isley Brothers, and he would watch the Beatles on Ed Sullivan with them during his first days with the group. Assuming he hadn't already played the Rosa Lee Brooks session (and I think there's good reason to believe he hadn't), then the first record Hendrix played on was their single "Testify": [Excerpt: The Isley Brothers, "Testify"] While he was with them, he also moonlighted on Don Covay's big hit "Mercy, Mercy": [Excerpt: Don Covay and the Goodtimers, "Mercy Mercy"] After leaving the Isleys, Hendrix joined the minor soul singer Gorgeous George, and on a break from Gorgeous George's tour, in Memphis, he went to Stax studios in the hope of meeting Steve Cropper, one of his idols. When he was told that Cropper was busy in the studio, he waited around all day until Cropper finished, and introduced himself. Hendrix was amazed to discover that Cropper was white -- he'd assumed that he must be Black -- and Cropper was delighted to meet the guitarist who had played on "Mercy Mercy", one of his favourite records. The two spent hours showing each other guitar licks -- Hendrix playing Cropper's right-handed guitar, as he hadn't brought along his own. Shortly after this, he joined Little Richard's band, and once again came into conflict with the star of the show by trying to upstage him. For one show he wore a satin shirt, and after the show Richard screamed at him “I am the only Little Richard! I am the King of Rock and Roll, and I am the only one allowed to be pretty. Take that shirt off!” While he was with Richard, Hendrix played on his "I Don't Know What You've Got, But It's Got Me", which like "Mercy Mercy" was written by Don Covay, who had started out as Richard's chauffeur: [Excerpt: Little Richard, "I Don't Know What You've Got, But It's Got Me"] According to the most likely version of events I've read, it was while he was working for Richard that Hendrix met Rosa Lee Brooks, on New Year's Eve 1964. At this point he was using the name Maurice James, apparently in tribute to the blues guitarist Elmore James, and he used various names, including Jimmy James, for most of his pre-fame performances. Rosa Lee Brooks was an R&B singer who had been mentored by Johnny "Guitar" Watson, and when she met Hendrix she was singing in a girl group who were one of the support acts for Ike & Tina Turner, who Hendrix went to see on his night off. Hendrix met Brooks afterwards, and told her she looked like his mother -- a line he used on a lot of women, but which was true in her case if photos are anything to go by. The two got into a relationship, and were soon talking about becoming a duo like Ike and Tina or Mickey and Sylvia -- "Love is Strange" was one of Hendrix's favourite records. But the only recording they made together was the "My Diary" single. Brooks always claimed that she actually wrote that song, but the label credit is for Arthur Lee, and it sounds like his work to me, albeit him trying hard to write like Curtis Mayfield, just as Hendrix is trying to play like him: [Excerpt: Rosa Lee Brooks, "My Diary"] Brooks and Hendrix had a very intense relationship for a short period. Brooks would later recall Little

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Repassez-moi... "I Could Have Danced All Night" lyrics by Alan Jay Lerner & music by Frederick Loewe (1956)

Repassez-moi l'standard

Play Episode Listen Later Jan 30, 2022 51:45

durée : 00:51:45 - « I Could Have Danced All Night » (Frederick Lowe / Alan Jay Lerner) (1956) - par : Laurent Valero - "Crée à Broadway en 1956 "My Fair Lady" est adaptée de Pygmalion de George Bernard Shaw. Dans la pièce "I Could Have Danced All Night" intervient lorsque Eliza parvient à prononcer "The Rain in Spain stays mainly in the Plain " Elle se dit qu'elle aurait pu danser toute la nuit..." Laurent Valero - réalisé par : Fanny Constans

music spain broadway rain dans lyrics lerner my fair lady george bernard shaw pygmalion danced loewe alan jay lerner frederick loewe fanny constans

A Preview of the Winter Musical "My Fair Lady"

The Darlington Podcast

Play Episode Listen Later Jan 13, 2022 20:26

Welcome to Episode 40 of The Darlington Podcast! In this episode, Theater Director Shelley Daniel talks with Choral Director Alex Johnson and seniors Kathryn Davidson and Grayson Davis about The Darlington Players' upcoming winter musical, "My Fair Lady." The show is slated for Feb. 25-27 at the Rome City Auditorium, featuring 22 students involved in the cast and crew. "My Fair Lady" is based on George Bernard Shaw's 1913 play "Pygmalion," with a book and lyrics by Alan Jay Lerner and music by Frederick Loewe. The story follows Eliza Doolittle, a Cockney flower girl who takes speech lessons from professor Henry Higgins, a phonetician, so that she may pass as a lady. Despite his cynical nature, Higgins falls in love with her. The musical's 1956 Broadway production was a notable critical and popular success, winning six Tony Awards, including Best Musical. It set a record for the longest run of any musical on Broadway up to that time and was followed by a hit London production. A popular film version premiered in 1964, and many revivals have followed. https://www.darlingtonschool.org/Today/Details/5808877 (Click here for complete show notes >>)

musical broadway higgins tony awards my fair lady george bernard shaw pygmalion cockney best musical eliza doolittle henry higgins alan jay lerner frederick loewe

VMI: Village Mostly Invisible, an investigation of Brigadoon

Veronica Mars Investigations

Play Episode Listen Later Dec 16, 2021 62:04

A LONG TIME AGO IN THE 1954 MGM MUSICAL BRIGADOON: New York City gents Gene Kelly and Van Johnson are lost in the Scottish Highlands! They want to shoot some birds, but instead stumble upon a village that's not on the map… Brigadoon! Everyone's dancing around the town and preparing for a wedding that evening; meanwhile, sister of the bride Cyd Charisse gets to fall in love with Gene Kelly on the heathery hillsides. But something's weird, and it's not just the fake Scottish accents, the very tight tartan trousers, the two-dimensional mountains and all the day-drinking: it's that the village is under an enchantment whereby it only appears on one day every hundred years, and it will disappear forever if anyone tries to leave. Then someone tries to leave! Then Gene Kelly and Van Johnson have to leave before the village goes sleepy-byes for another hundred years. But Gene left his heart behind... Lucky for him, there's a special wake-up-Brigadoon-early clause buried deep in the small print of the enchantment, because of course there is. Join Jenny Owen Youngs and Helen Zaltzman to investigate the 1954 MGM musical Brigadoon and its many, many mysteries, such as why choose an enchantment with SO many downsides, how Logan Echolls might have seen this, seriously why such a self-owning enchantment, whether the village's crops and foods stay fresh during the 100-year sleeps, and COME ON THINK THIS ENCHANTMENT THROUGH BEFORE CONDEMNING YOUR WHOLE VILLAGE TO IT. For more about this episode, and to read the transcript, visit the podcast's official site VMIpod.com/brigadoon. VMI will return mid-2022; to keep posted about what's coming up on the show, follow @VMIpod on Twitter, Instagram and Facebook and sign up for our mailing list at vmipod.com/vmimail. This episode was edited and mixed by Helen Zaltzman; the music is by Martin Austwick and Jenny Owen Youngs. We have MERCH but only till the end of 2021! And it's currently on deep discount. So you have a very short time to get your beautiful Not Milk T-shirts and pins, and your long lens pins and Gay For Weevil mementoes, at hellomerch.com/collections/veronica-mars-investigations. Our ad partner is Multitude. To sponsor episodes of the show, contact them at multitude.productions/ads. This episode is sponsored by Dipsea, the app full of sexy stories and somnolent soundscapes. Get an extended 30 day free trial at DipseaStories.com/veronica. Support the show: https://www.paypal.com/cgi-bin/webscr?cmd=_s-xclick&hosted_button_id=TWQYZDRGZUGH8&source=url See omnystudio.com/listener for privacy information.

Musings on Musicals, w. Oliver Lee

Emotipod: Emotions in the Arts

Play Episode Play 15 sec Highlight Listen Later Dec 4, 2021 39:55

Oliver Lee shares his love of musical theatre and delves into its emotional layers.Musicals seemed to thin out for a couple of decades, but their popularity hasn't waned since Cameron Mackintosh really cranked things up again in the 1980s. What are the ingredients for a successful show? Oliver's recommendations to look out for:Candide, Leonard BernsteinGuys & Dolls, Frank LoesserMy Fair Lady, Frederick Loewe, Alan Jay LernerCompany, Stephen SondheimEverybody's Talking About Jamie, Tom MacRae, Dan Gillespie SellsMatilda, Tim MinchinAnd 'his' performers to look out for:Michael BallImelda StauntonJulian Ovenden---Music: FrancesRecorded August 2021

mental health arts emotions empathy musings dolls songwriting musicals emotional health musical theatre showstoppers talking about jamie cameron mackintosh frederick loewe tom macrae

Bruce Pomahac talks Rodgers & Hammerstein and Annie Get Your Gun

The Zak Kuhn Show

Play Episode Listen Later Oct 19, 2021 60:57

For over twenty years Bruce Pomahac was the Director of Music for The Rodgers and Hammerstein Organization in New York City, where he helmed the restorations and supervised new editions of OKLAHOMA!, CAROUSEL, ALLEGRO, SOUTH PACIFIC, THE KING & I, PIPE DREAM, CINDERELLA, THE SOUND OF MUSIC, ONCE UPON A MATTRESS, ANNIE GET YOUR GUN and many others. He is currently Musical Consultant for Concord Music (Rodgers & Hammerstein, Rodgers & Hart and Kern & Hammerstein), The Irving Berlin Music Company, and the estates of Frederick Loewe and Alan Jay Lerner. In this episode we talk about how he got the gig, what it takes to restore an iconic show and how he kept the music relevant for new generations. We also dive deep into the history of Annie Get Your Gun, which is celebrating its 75th anniversary.

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Tom KITT

Danny Lane's Music Museum

Play Episode Listen Later Sep 7, 2021 148:01

Te invitamos a conocer algo más a Tom Kitt, un músico que ha triunfado no sólo como orquestador y director musical, sino también como compositor. Tom Kitt comenzó a trabajar a los 28 años en Broadway como director musical en el musical “Debbie does Dallas” y tan sólo seis años más tarde, en 2008, estrenaba musical propio “Next to normal” con el que ganaría dos premios Tony, como compositor y como orquestador, además del Pulitzer, el Outer Critics Circle Award y el Frederick Loewe. Tom Kitt es mucho más que “Next to normal”. Ha escrito canciones para “Barrio Sésamo”, para Julia Murney, se ha encargado de las orquestaciones y arreglos para el grupo de rock Green day, escribió con Lin Manuel Miranda un tema para la ceremonia de los Oscars de 2013 y muchas más proyectos inacabados o pendientes que te contamos en este podcast. 00h 00'00" Presentación 00h 01'00" Cabecera 00h 01'38" Inicio 00h 02'06" HIGH FIDELITY 00h 02'34" Desert island Top 5 Break-Ups - Will Chase & Top 5 Girls 00h 07'14" 9 percent chance - Will Chase, Christian Anderson & Ensemble 00h 10'10" I slept with someone - John Patrick Walker & Will Chase 00h 12'53" The last real record store on Earth - Will Chase & Company 00h 20'27" Too tired - Jenn Colella 00h 24'20" NEXT TO NORMAL 00h 24'41" Just another day - Alice Ripley & Broadway Cast 00h 28'30" I miss the mountains - Alice Ripley 00h 32'06" I am the one - J. Damiano, A. Ripley, A.Chanler-Berat & A. Tveit 00h 35'21" I'm alive - Aaron Tveit & Broadway Cast 00h 38'29" I dreamed a dance - Alice Ripley Aaron Tveit 00h 40'52" Light - Broadway Cast 00h 45'41" BRING IT ON 00h 46'03" What I was born to do 00h 50'52" It's all happening 00h 56'32" I ain't no thing 01h 00'09" Cross the line 01h 03'51" I got you 01h 06'44" IF / THEN 01h 07'32" You never know 01h 10'42" You don't need to love me 01h 13'36" Best worst mistake 01h 16'27" You learn to live without 01h 20'01" Love while you can 01h 23'30" Always starting over 01h 28'07" ENCARGOS PUNTUALES Y DAVE 01h 29'17" A prayer - Sophie Meade (Penny dreadful) 01h 31'41" All I need is an angel (Grease live) 01h 34'45" Maybe (Baby) (Grease Live) 01h 36'17" I can go anywhere (Dave, musical) 01h 39'24" FREAKY FRIDAY 01h 40'23" Just one day 01h 44'49" I got this 01h 49'37" Parents lie 01h 52'23" Women and sandwiches 01h 55'45" Today and every day 02h 02'37" SUPERHERO 02h 03'00" What's happening to my boy 02h 07'20" I'll save the girl 02h 11'40" If I only have one day 02h 13'58" My dad, the superhero 02h 17'05" Superhero 02h 22'10" FLYING OVER SUNSET 02h 22'46" Flying over sunset

Episode 135: From The Archives - Classic Pop Standards #8

Play Episode Listen Later Jul 25, 2021 58:47

“Classic-Pop Standards” is a one-hour program inspired by the Great American Songbook. This series of podcasts features the singers, the lyricists, and the composers of the music we call “American Standards.” Come along with us as we honor the great songwriters by never forgetting their music. These are songs with not only a history, but with a future; Songs born along Tin Pan Alley, on 42nd Street, at the Brill building, and down Broadway. Danny Lane brings new life to the Great American Songbook on “Classic-Pop Standards”. Comments to: dannymemorylane@gmail.com In this episode, you'll hear:1) I've Got The World On A String by Celine Dion / Harold Arlen (music) & Ted Koehler (lyrics) [1932]2) I Could Have Danced All Night by Jamie Cullum / Alan Jay Lerner (lyrics) & Frederick Loewe (music) [1956]3) Straighten Up And Fly Right by Linda Ronstadt (with Nelson Riddle & His Orchestra) / Nat King Cole & Irving Mills (words and music) [1943]4) Night And Day by Frank Sinatra / Cole Porter (words & music) [1932]5) Where Do I Go From You by Nancy Wilson / Diane Warren (words & music) [1994]6) The Music Of The Night by Michael Crawford & Barbra Streisand / Andrew Lloyd Webber (music) & Charles Hart and Richard Stilgoe (lyrics) [1986]7) I Could Write A Book by Harry Connick, Jr. / Richard Rodgers & Lorenz Hart [1940]8) Buttons And Bows by Dinah Shore / Jay Livingston (music) & Ray Evans (lyrics) [1947]9) Don't Get Around Much Anymore by Rod Stewart / Duke Ellington (music) & Bob Russell (lyrics) [1940]10) I Got Rhythm by Ella Fitzgerald (with Nelson Riddle's Orchestra) / George Gershwin (music) & Ira Gershwin (lyrics) [1930]11) Gee Baby, Ain't I Good To You by Sammy Davis Jr. / Don Redman (music) & Andy Razaf (lyrics) [1929]12) Let's Do It by Eydie Gormé / Cole Porter (music & lyrics) [1928]13) Dream (When You're Feeling Blue) by Roy Orbison / Johnny Mercer (words & music) [1944]14) Time After Time by Deana Martin (duet with Jerry Lewis) / Sammy Cahn (lyrics) & Jule Styne (music) [1947]15) Love Theme from St. Elmo's Fire (Subtitled "For Just A Moment") by Donny Gerrard & Amy Holland / David Foster (music) & Cynthia Weil (lyrics) [1984]16) Maybe This Time by Tony Bennett / John Kander (music) & Fred Ebb (lyrics) [1964] 17) True Love by Elvis Presley / Cole Porter [1956]18) It Had to Be You by Benny Goodman & His Orchestra / Isham Jones (music) & Gus Kahn (lyrics) [1924]

Camelot

In the Spotlight

Play Episode Listen Later Apr 7, 2021 84:14

CAMELOT Book & Lyrics by Alan Jay Lerner | Music by Frederick Loewe | Originally Directed and Staged by Moss Hart | Based on “The Once and Future King” by T.H. White Episode Segments:3:01 - Speed Test5:09 - Why God Why10:00 - Back to Before16:50 – Putting It Together33:01 - What's Inside53:08 - How Do You Solve a Problem Like Maria?1:08:39 - Our Favorite Things1:19:05 - Corner of the Sky1:22:41 – What Comes Next?Works Consulted & Reference :Camelot (Original Libretto) by Alan Jay LernerCamelot (Small Cast Version) by Alan Jay LernerThe Street Where I Live by Alan Jay LernerHome: A Memoir of My Early Years by Julie AndrewsDazzler: The Life and Times of Moss Hart by Steven BachA Hymn to Him: The Lyrics of Alan Jay Lerner (Edited by Benny Green)Alan Jay Lerner: A Biography by Edward JablonskiInventing Champagne: The Worlds of Lerner and Loewe by Gene LeesJulie Andrews by Robert WindelerOpen A New Window: The Broadway Musical of the 1960s by Ethan MordeenMusic Credits:"Overture" from Dear World (Original Broadway Cast Recording) | Music by Jerry Herman | Performed by Dear World Orchestra & Donald Pippin"The Speed Test" from Thoroughly Modern Millie (Original Broadway Cast Recording) | Music by Jeanine Tesori, Lyrics by Dick Scanlan | Performed by Marc Kudisch, Sutton Foster, Anne L. Nathan & Ensemble"Why God Why" from Miss Saigon: The Definitive Live Recording (Original Cast Recording / Deluxe) | Music by Claude-Michel Schönberg, Lyrics by Alain Boublil & Richard Maltby Jr. | Performed by Alistair Brammer"Back to Before" from Ragtime: The Musical (Original Broadway Cast Recording) | Music by Stephen Flaherty, Lyrics by Lynn Ahrens | Performed by Marin Mazzie"Chromolume #7 / Putting It Together" from Sunday in the Park with George (Original Broadway Cast Recording) | Music & Lyrics by Stephen Sondheim | Performed by Mandy Patinkin, Bernadette Peters, Judith Moore, Cris Groenendaal, Charles Kimbrough, William Parry, Nancy Opel, Robert Westenberg, Dana Ivey, Kurt Knudson, Barbara Bryne"What's Inside" from Waitress (Original Broadway Cast Recording) | Music & Lyrics by Sara Bareilles | Performed by Jessie Mueller & Ensemble"If Ever I Would Leave You” from Camelot (Original Broadway Cast Recording) | Music by Frederick Loewe & Lyrics by Alan Jay Lerner | Performed by Robert Goulet & Franz Allers"Maria" from The Sound of Music (Original Soundtrack Recording) | Music by Richard Rodgers, Lyrics by Oscar Hammerstein II | Performed by Evadne Baker, Anna Lee, Portia Nelson, Marni Nixon"My Favorite Things" from The Sound of Music (Original Soundtrack Recording) | Music by Richard Rodgers, Lyrics by Oscar Hammerstein II | Performed by Julie Andrews"Corner of the Sky" from Pippin (New Broadway Cast Recording) | Music & Lyrics by Stephen Schwartz | Performed by Matthew James Thomas“What Comes Next?” from Hamilton (Original Broadway Cast Recording) | Music & Lyrics by Lin-Manuel Miranda | Performed by Jonathan Groff

Camelot, 60 ans

42e Rue

Play Episode Listen Later Dec 6, 2020 58:18

durée : 00:58:18 - Camelot, 60e anniversaire - par : Laurent Valière - Après leur succès mondial de My Fair Lady, Frederick Loewe et Alan-Jay Lerner adaptent les chevaliers de la table ronde en comédie musicale avec Julie Andrews, révélée dans My Fair Lady, en Guenièvre. Une création qui fête ce 3 décembre ses 60 ans. - réalisé par : Max James

ans camelot julie andrews my fair lady alan jay lerner frederick loewe gueni laurent vali

My Fair Lady

In the Spotlight

Play Episode Listen Later Nov 11, 2020 87:04

It was a loverly day when My Fair Lady opened on Broadway in 1956, and it quickly became a smash hit and beloved classic. Writing team Lerner and Loewe succeeded where others had failed and turned George Bernard Shaw's play Pygmalion into a musical - and what a musical! We'll look at the show's complex pre-history and thorny rehearsal days, and dive into the question of whether the show is a romance, or sexist, or both. Find one enormous chair and settle in for our latest episode! MY FAIR LADY Book & Lyrics by Alan Jay Lerner | Music by Frederick Loewe | Adapted from George Bernard Shaw's Play and Gabriel Pascal's Motion Picture “PYGMALION” | Original Production Directed and Staged by Moss HartEpisode Segments:3:12 - Speed Test5:28 - Why God Why8:53 - Back to Before31:39 - What's Inside49:29 - How Do You Solve a Problem Like Maria?1:13:03 - Our Favorite Things1:21:17 - Corner of the Sky1:25:25 – What Comes Next?Works Consulted & Reference :My Fair Lady (Original Libretto) by Alan Jay LernerPygmalion by George Bernard ShawThe Street Where I Live by Alan Jay LernerDazzler: The Life and Times of Moss Hart by Steven BachA Hymn to Him: The Lyrics of Alan Jay Lerner (Edited by Benny Green)Home: A Memoir of My Early Years by Julie AndrewsAlan Jay Lerner: A Biography by Edward JablonskiInventing Champagne: The Worlds of Lerner and Loewe by Gene LeesJulie Andrews by Robert WindelerRex: An Autobiography by Rex HarrisonMusic Credits:"Overture" from Dear World (Original Broadway Cast Recording) | Music by Jerry Herman | Performed by Dear World Orchestra & Donald Pippin"The Speed Test" from Thoroughly Modern Millie (Original Broadway Cast Recording) | Music by Jeanine Tesori, Lyrics by Dick Scanlan | Performed by Marc Kudisch, Sutton Foster, Anne L. Nathan & Ensemble"Why God Why" from Miss Saigon: The Definitive Live Recording (Original Cast Recording / Deluxe) | Music by Claude-Michel Schönberg, Lyrics by Alain Boublil & Richard Maltby Jr. | Performed by Alistair Brammer"Back to Before" from Ragtime: The Musical (Original Broadway Cast Recording) | Music by Stephen Flaherty, Lyrics by Lynn Ahrens | Performed by Marin Mazzie"What's Inside" from Waitress (Original Broadway Cast Recording) | Music & Lyrics by Sara Bareilles | Performed by Jessie Mueller & Ensemble"Wouldn't It Be Loverly” from My Fair Lady (Original Broadway Cast Recording) | Music by Frederick Loewe & Lyrics by Alan Jay Lerner | Performed by Julie Andrews, Reid Shelton, Glenn Kezer, James Morris, Herb Surface, & My Fair Lady Ensemble"Maria" from The Sound of Music (Original Soundtrack Recording) | Music by Richard Rodgers, Lyrics by Oscar Hammerstein II | Performed by Evadne Baker, Anna Lee, Portia Nelson, Marni Nixon"My Favorite Things" from The Sound of Music (Original Soundtrack Recording) | Music by Richard Rodgers, Lyrics by Oscar Hammerstein II | Performed by Julie Andrews"Corner of the Sky" from Pippin (New Broadway Cast Recording) | Music & Lyrics by Stephen Schwartz | Performed by Matthew James Thomas“What Comes Next?” from Hamilton (Original Broadway Cast Recording) | Music & Lyrics by Lin-Manuel Miranda | Performed by Jonathan Groff

Radio Days - Classic Pop Standards #4

Danny Lane's Music Museum

Play Episode Listen Later Oct 29, 2020 59:36

“Classic-Pop Standards” is a one-hour program inspired by the Great American Songbook. This series of podcasts features the singers, the lyricists, and the composers of the music we call “American Standards.” Come along with us as we honor the great songwriters by never forgetting their music. These are songs with not only a history, but with a future; Songs born along Tin Pan Alley, on 42nd Street, at the Brill building, and down Broadway. Danny Lane brings new life to the Great American Songbook on “Classic-Pop Standards”. In this episode, you’ll hear: 1) Swingin' Down The Lane [Excerpt] by Les Brown / Isham Jones (music) & Gus Kahn (lyrics) [1923] 2) Let's Get Away From It All by Della Reese / Matt Dennis (music) / lyrics by Tom Adair (lyrics) [1941] 3) Nobody Else But Me by Tony Bennett / Jerome Kern (music)/Oscar Hammerstein II (lyrics) [1946] 4) Some Cats Know by Peggy Lee / Jerry Leiber & Mike Stoller [1968] 5) Fever by Ray Charles & Natalie Cole / Eddie Cooley & John Davenport [1956] 6) Bounce Me Brother (With a Solid Four) by Ann Hampton Callaway / Don Raye and Hughie Prince (music & lyrics) [1941] 7) Someone To Watch Over Me by Rod Stewart / George Gershwin (music) & Ira Gershwin (lyrics) [1926] 8) It's Love by Lena Horne / Betty Comden and Adolph Green (lyrics) & Leonard Bernstein (music) [1953] 9) When October Goes by Barry Manilow / Barry Manilow (music) & Johnny Mercer (lyrics) [1984] 10) The Shadow of Your Smile by Nancy Wilson / Johnny Mandel (music) & Paul Francis Webster (lyrics) [1965] 11) I'm The Big Band Singer by Rosemary Clooney / Merv Griffin (words & music) 12) To Make You Feel My Love by Kurt Darren / Bob Dylan [1997] 13) I Got Rhythm by Bill Elliott Swing Orchestra (Wendi Williams, vocal) / George Gershwin (music) & Ira Gershwin (lyrics) [1930] 14) Almost Like Being In Love by Vic Damone / Alan Jay Lerner (lyrics) & Frederick Loewe (music) [1947] 15) Someone Like You by Linda Eder / Frank Wildhorn (music) & Frank Wildhorn, Leslie Bricusse and Steve Cuden (lyrics) [1990] 16) There Ain't Nobody Else by Bert Stratton / Bert Stratton [2002] 17) All I Ask Of You by Shirley Bassey / Andrew Lloyd Webber (Music) Charles Hart (Lyrics) [1984] 18) They Can't Take That Away From Me by Perry Como / George Gershwin (music)/Ira Gershwin (lyrics) [1937] 19) Good Morning Heartache by Diana Ross / Dan Fisher, Irene Higginbotham, and Ervin Drake [1946] 20) Alaskan Nights by David Schwartz / David Schwartz [1992]

Repassez-moi l'standard..."On the Street Where You Live" music Frederick Loewe & lyrics Alan Jay Lerner (1956)

Le jazz sur France Musique

Play Episode Listen Later Oct 18, 2020 58:45

durée : 00:58:45 - " On the street where you live " (Frederick Loewe / Alan Jay Lerner) (1956) - par : Laurent Valero - "Thème issu de "My fair lady" célèbre comédie musicale composée par Frederic Loewe, et écrite par Alan Jay Lerner en 1956. Inspirée de la pièce "Pygmalion" de George Bernard Shaw, elle met en scène les personnages du professeur Higgins et de la marchande de fleurs Elsa Doolitle..." Laurent Valero - réalisé par : Patrick Lérisset

music lyrics higgins live music inspir lerner george bernard shaw pygmalion loewe patrick l alan jay lerner frederick loewe street where you live

Repassez-moi l'standard..."On the Street Where You Live" music Frederick Loewe & lyrics Alan Jay Lerner (1956)

Repassez-moi l'standard

Play Episode Listen Later Oct 18, 2020 58:45

durée : 00:58:45 - " On the street where you live " (Frederick Loewe / Alan Jay Lerner) (1956) - par : Laurent Valero - "Thème issu de "My fair lady" célèbre comédie musicale composée par Frederic Loewe, et écrite par Alan Jay Lerner en 1956. Inspirée de la pièce "Pygmalion" de George Bernard Shaw, elle met en scène les personnages du professeur Higgins et de la marchande de fleurs Elsa Doolitle..." Laurent Valero - réalisé par : Patrick Lérisset

music lyrics higgins live music inspir lerner george bernard shaw pygmalion loewe patrick l alan jay lerner frederick loewe street where you live

Rewind – Classic Pop Standards #3

Danny Lane's Music Museum

Play Episode Listen Later Oct 15, 2020 57:49

“Classic-Pop Standards” is inspired by the Great American Songbook. This series of podcasts features the singers, the lyricists, and the composers of the music we call “American Standards.” Come along with us as we honor the great songwriters by never forgetting their music. These are songs with not only a history, but with a future; Songs born along Tin Pan Alley, on 42nd Street, at the Brill building, and down Broadway. We bring new life to the Great American Songbook on “Classic-Pop Standards”. ***** In this episode, you’ll hear: 1) Oh, Lady Be Good [Excerpt] by Benny Goodman Quintet / George Gershwin (music) & Ira Gershwin (lyrics) [1924] 2) I Got Rhythm by Bobby Darin / George Gershwin (music) & Ira Gershwin (lyrics) [1930] 3) September In The Rain by Dinah Washington / Harry Warren (music) & Al Dubin (lyrics) [1937] 4) I Can't Give You Anything But Love by Mel Tormé / Jimmy McHugh (music) & Dorothy Fields (lyrics) [1928] 5) Lover, Come Back To Me by Barbra Streisand / Sigmund Romberg (music) & Oscar Hammerstein II (lyrics) [1928] 6) I Get A Kick Out Of You by Frank Sinatra / Cole Porter (music & lyrics) [1934] 7) Blues In The Night by Eva Cassidy / Johnny Mercer (words) & Harold Arlen (music) [1941] 8) Thank Heaven for Little Girls by Maurice Chevalier / Alan Jay Lerner (lyrics) & Frederick Loewe (music) [1957] 9) It's De-Lovely by Ella Fitzgerald / Cole Porter (music & lyrics) [1936] 10) Once In Love With Amy by Dean Martin / Frank Loesser (music & lyrics) [1948] 11) Without A Memory by Judy Garland / Bob Hilliard (lyricist) & Milton De Lugg (composer) 12) Lulu's Back in Town by Dick Haymes / Al Dubin (lyrics) and Harry Warren (music) [1935] 13) My Heart Belongs To Daddy by Eartha Kitt / Cole Porter [1938] 14) A Foggy Day (In London Town) by Michael Bublé / George Gershwin (music) & Ira Gershwin (lyrics) [1937] 15) I've Got the World On a String by Julie Budd / Harold Arlen (music) & Ted Koehler (lyrics) [1932] 16) My One And Only Love by Louis Armstrong / Guy Wood (music) & Robert Mellin (lyrics) [1952] 17) I Got It Bad (And That Ain't Good) by Carly Simon / Duke Ellington (music) & Paul Francis Webster (lyrics) [1941] 18) Come To Me, Bend To Me by Andy Williams / Alan Jay Lerner (lyrics) & Frederick Loewe (music) 19) Spring, Spring, Spring by JaLaLa / Johnny Mercer (lyrics) & Gene dePaul and Saul Chaplin (music) [1954] 20) Bewitched, Bothered & Bewildered by Frank Sinatra & Patti LaBelle / Richard Rodgers (music) & Lorenz Hart (lyrics) [1940] 21) I've Got My Love To Keep Me Warm by Les Brown / Irving Berlin (music & lyrics) [1937]

spring songs broadway standards lover frank sinatra string little girls bewitched bothered brill michael bubl george gershwin bewildered great american songbook tin pan alley american standard ira gershwin harold arlen come to me mel torm oscar hammerstein ii i got rhythm harry warren lorenz hart dorothy fields come back to me thank heaven world on frederick loewe classic pop de lovely jimmy mchugh paul francis webster blues in the night ted koehler saul chaplin

Cine Musical: Años 50 (Parte 3)

Play Episode Listen Later Aug 1, 2020 60:27

Última parte dedicada al cine musical de los 50, con un protagonista casi absoluto: Richard Rodgers. Le acompañan en el baile otros grandes compositores como Frederick Loewe o George Gershwin. Las películas son Oklahoma, Papá Piernas Largas, El rey y yo, Carrusel, Pal Joey, El rock de la cárcel, Una cara con ángel, Gigi, Al sur del Pacífico y Porgy & Bess. Sintonía compuesta por Curro Martín. Voz de Pablo Silicato.

oklahoma pac voz george gershwin sinton richard rodgers carrusel pal joey frederick loewe cine musical

Cine Musical: Años 50 (Parte 3)

Classic Musicals From The Golden Age of Radio

Play Episode Listen Later Aug 1, 2020 60:27

Última parte dedicada al cine musical de los 50, con un protagonista casi absoluto: Richard Rodgers. Le acompañan en el baile otros grandes compositores como Frederick Loewe o George Gershwin. Las películas son Oklahoma, Papá Piernas Largas, El rey y yo, Carrusel, Pal Joey, El rock de la cárcel, Una cara con ángel, Gigi, Al sur del Pacífico y Porgy & Bess. Sintonía compuesta por Curro Martín. Voz de Pablo Silicato.

oklahoma pac voz george gershwin sinton richard rodgers carrusel pal joey frederick loewe cine musical

WPMT #2: Brigadoon

Play Episode Listen Later Jul 21, 2020 34:58

Today WPMT Presents: "Brigadoon" with music by Frederick Loewe and book and lyrics by Alan Jay Lerner. Here, on the January 30, 1950 episode of The Railroad Hour, enjoy stars Gordon Macrae as “Tommy Albright,” Jane Powell as “Fiona MacLaren,” and Clark Dennis as “Charlie Dalrymple." Listen to an unforgettable hour of Classic Musicals from the Golden Age of Radio.

radio golden age brigadoon alan jay lerner jane powell gordon macrae frederick loewe

Backyard Almanac: Tra-la! It's May!

Backyard Almanac

Play Episode Listen Later May 1, 2020 9:20

Tra la, it's May, the lusty month of May That lovely month when everyone goes blissfully astray Tra la, it's here, that shocking time of year When tons of wicked little thoughts merrily appear It's mad, it's gay, a libelous display Those dreary vows that everyone takes Everyone breaks Everyone makes divine mistakes The lusty month of May! ~ Frederick Loewe & Alan Jay Lerner, "Camelot"

backyard tra camelot almanac alan jay lerner frederick loewe

Lerner and Loewe

The Peanut Gallery by MTH

Play Episode Listen Later Apr 24, 2020 32:20

In this episode George and Tim discuss the partnership of Alan J. Lerner and Frederick Loewe. How they met and why their partnership worked so well, in spite of some rocky roads to Broadway for a few of their shows.

broadway lerner loewe frederick loewe

The Start of Beautiful Music

Weekend Warrior with Dr. Robert Klapper

Play Episode Listen Later Apr 12, 2020 7:03

How did Alan Jay Lerner and Frederick Loewe meet... what was that chance these two would become one of the best Broadway musical collaborators...

broadway beautiful music alan jay lerner frederick loewe

256 - My Fair Lady -George Cukor- La gran Evasión.

Podcast de La Gran Evasión

Play Episode Listen Later Jan 15, 2020 64:34

George Cukor, uno de los más prolíficos directores de Hollywood dirige en 1964 My Fair Lady, inspirada en el mito de Pygmalion y la obra del irlandés Bernard Shaw. La obra de Broadway, con música de Frederick Loewe y libreto y letras de Alan Jay Lerner, estuvo en cartel más de seis años, con Julie Andrews y Rex Harrison en los papeles principales. El profesor Higgins necesita moldear a su bella dama, pulir a la violetera de Covent Garden, lavarle la cara y convertir su dialecto de barrio bajo en el inglés mejor pronunciado del baile. También Cukor necesitó dirigir esta superproducción de la Warner, quizá para quitarse la espina clavada de Lo que el viento se llevó, para la que fue elegido inicialmente por el productor de Hollywood David O. Selznick, barco del que tuvo que bajar para ser sustituido por Victor Fleming. My Fair Lady invita a soñar. El arrogante y misántropo profesor de fonética en la soledad de su caserón de la calle Wimpole, y la gritona florista, el diamante en bruto con la ilusión de salir del arroyo, de comerse los mejores bombones de la caja. Audrey Hepburn, el alma de la película, no fue ni siquiera nominada a mejor actriz en los Oscars, para más inri se lo llevó Julie Andrews por Mary Poppins. La voz de Audrey en sus canciones la dobló la soprano Marnie Nixon. Momentos mágicos. La cenicienta coge las riendas en casa de la madre del profesor, la alumna ha aprendido perfectamente la lección, ya tiene la cara limpia. El cínico encontró la vitalidad en el luminoso semblante del que ya no puede prescindir. Todos se enamoran de Eliza Doolittle, Higgins en su salón lleno de gramófonos, el joven Freddy en el hipódromo de Ascot, el alumno húngaro en el baile de la embajada, el coronel Pickering, interpretado por Wilfrid Hyde-White, y como no, su borrachín padre, un estupendo Stanley Holloway. Raúl Gallego Esta noche confirmamos que la lluvia en Sevilla es una maravilla... José Miguel Moreno, Rosario Medina, María Royo y Raúl Gallego.

Rousuck's Review: "My Fair Lady" At The Kennedy Center

Midday

Play Episode Listen Later Jan 9, 2020 9:08

It's Thursday, and time again for a visit with theater critic J. Wynn Rousuck, who regales us each week with her reviews of the region's rich thespian offerings. Today, she spotlights the new touring production of My Fair Lady, now on stage at the Kennedy Center for the Performing Arts in Washington, D.C. The Kennedy Center show launches the national tour for the Lincoln Center Theater production of the much-beloved musical by Alan Jay Lerner (book and lyrics) and Frederick Loewe, who adapted it from George Bernard Shaw's 1913 play and Gabriel Pascal's 1938 film, "Pygmalion." The story of Eliza Doolittle, a Cockney flower girl who takes speech lessons from phoneticist Henry Higgins so that she can pass as a cultured lady, was a major commercial and critical success when it opened on Broadway in 1956. Boasting such enduring songs as “I Could Have Danced All Night,” “The Rain in Spain,” and “Wouldn’t It Be Loverly,” My Fair Lady earned four Tony Awards and set a record at the time for the longest run of any show on Broadway. It was followed by a hit London production, a popular film version, and numerous award-winning revivals. The current touring revival by the Lincoln Center Theater in New York is directed at the Kennedy Center by Bartlett Sher, with music supervision by Ted Sperling and choreography by Christopher Gattelli. The show's 33-member cast is led by Shereen Ahmed as Eliza Doolittle, and Laird Mackintosh and Henry Higgins. My Fair Lady continues at The Kennedy Center in Washington through Sunday, January 19th. For showtimes and ticket information, click here.

new york washington spain broadway rain performing arts boasting kennedy center tony awards my fair lady george bernard shaw pygmalion cockney eliza doolittle lincoln center theater henry higgins alan jay lerner bartlett sher frederick loewe ted sperling

Episode 13: Nat King Cole, Carlos Gardel, George Michael and Marvin Gaye

MashUpheaval

Play Episode Listen Later Nov 30, 2019 14:00

In the thirteenth episode of MashUpheaval - your all-request, live performance mashup podcast - Amelia Ray performs two mashups: one of “On the Street Where You Live” (written by Frederick Loewe and Alan Jay Lerner) from “My Fair Lady” and Carlos Gardel’s “El día que me quieras,” (written by Carlos Gardel and Alfredo la Pera) and another of George Michael’s “I Want Your Sex” (written by George Michael) and Marvin Gaye’s “Sexual Healing” (written by Marvin Gaye, Odell Brown and David Ritz).Episode video: https://youtu.be/qqZcWbXnmfUSong List:(1) “On the Day When You Love” - a mashup of “On the Street Where You Live” (written by Frederick Loewe and Alan Jay Lerner) and “El día que me quieras,” (written by Carlos Gardel and Alfredo la Pera)(2) “Healing Sex” - a mashup of “I Want Your Sex” (written by George Michael) and “Sexual Healing” (written by Marvin Gaye, Odell Brown and David Ritz)If you would like to request a mashup, send an email to: mashupheaval@ameliaray.netSupport this podcast: www.patreon.com/ameliaraywww.ameliaray.net

marvin gaye george michael pera nat king cole sexual healing my fair lady carlos gardel alan jay lerner david ritz frederick loewe i want your sex street where you live

BP047 Gigi (1958) - with special guest Kiri Pritchard-McLean

The Best Pick movie podcast

Play Episode Listen Later Nov 6, 2019 68:49

Best Pick with John Dorney, Jessica Regan and Tom Salinsky. Episode 47: Gigi (1958) - with special guest Kiri Pritchard-McLean Released 6 November 2019 For this episode, we watched Gigi, written by Alan Jay Lerner (won) with music by Frederick Loewe and Andre Previn (won) from the book by Colette. It was directed by Vincente Minelli (won) and produced by Arthur Freed. The stars were Leslie Caron, Louis Jourdan, Maurice Chevalier and Hermione Gingold. It also won for its Art Direction, Cinematography, Costume Design, Film Editing and Best Original Song. http://www.kiripritchardmclean.co.uk https://twitter.com/killnofillpod Next time we will be discussing The Greatest Show on Earth. If you want to watch it before listening to the next episode you can buy the DVD (it is not available on Blu-ray) on Amazon.co.uk, or Amazon.com, or you can download it via iTunes (UK) or iTunes (USA). To send in your questions, comments, thoughts and ideas, you can join our Facebook group, Tweet us on @bestpickpod or email us on bestpickpod@gmail.com. You can also Tweet us individually, @MrJohnDorney, @ItsJessRegan or @TomSalinsky. You should also visit our new website at https://bestpickpod.com and sign up to our mailing list to get notified as soon as a new episode is released. Just follow this link: http://eepurl.com/dbHO3n.

Alan Jay LERNER & Frederick LOEWE

Play Episode Listen Later Feb 20, 2019 149:52

En 1942 el compositor Frederick Loewe buscaba un letrista para sus composiciones y le presentaron a Alan Jay Lerner con el que comenzó a trabajar hasta que estrenaron su primer musical como Lerner & Loewe en 1945 titulado THE DAY BEFORE SPRING, al que seguirían éxitos como BRIGADOON, PAINT YOUR WAGON que al llevar al cine en 1969 se estrenó en España como “La leyenda de la ciudad sin nombre”. MY FAIR LADY les llegó tras haber sido rechazada por Rodgers y Hammerstein que encontraban difícil escribir un musical del Pigmalion de Bernard Shaw pero Lerner supo escribir el libreto, manteniendo el espíritu de la obra y se convirtió en el exitazo que conocemos, ganando 7 Tonys y 8 Oscars en 1964, cuando fue llevada al cine dirigida por George Cukor. Metro Goldwyn Mayer les encargó un musical sobre GIGI que aunque ganó 9 Oscars en 1960, todo un cúmulo de problemas enfrentaron a Lerner y Loewe, mientras trataban de poner en pie el musical CAMELOT, como explicamos en el podcast publicado este mes y Loewe decidió abandonar el musical. Aún escribieron la partitura para THE LITTLE PRINCE, película basada en el cuento de Antoine de Saint-Exupéry, que dirigió Stanley Donen, con colaboraciones de Gene Wilder o Bob Fosse, que no evitaron que se hundiese en taquilla marcando el fin de sus trabajos como equipo. Adjuntamos los temas e intérpretes por el orden en que aparecen en la playlist. Espero os guste 00h 00'00" Presentación 00h 02'35" Cabecera WHAT'S UP (1943) 00h 03'11" My last love - Brent Barrett THE DAY BEFORE SPRING (1945) 00h 04'24" You haven't changed - Brent Barrett & Lauren Bacall 00h 06'14" My love is a married man - Julie Andrews BRIGADOON (1947) 00h 12'21" Begining 00h 17'39" Almost like being in love - Robert Goulet & Sally Ann Howes 00h 20'27" The heather on the hill - Brent Barret & Rebecca Luker 00h 24'27" Come to me, bend to me - Andy WIlliams 00h 27'46" Dance 00h 31'40" There but for you I go - Bryn Terfel PAINT YOUR WAGON (1951) 00h 35'19" I'm on my way 00h 39'03" I talk to the trees - Clint Eastwood 00h 41'55" They call the wind Maria - Harve Presnell 00h 45'29" There's a coach comin' in - Harve Presnell 00h 50'22" Gold fever - Clint Eastwood 00h 53'27" Wand'rin star - Lee Marvin MY FAIR LADY (1956) 00h 57'52" Suite - Julie Andrews & Chorus 01h 08'38" With a little bit of luck - Bryn Terfel 01h 12'24" I'm an ordinary man - Jonathan Pryce 01h 17'08" Get me to the church on time - Bob Hoskins 01h 22'05" I've grown accustomed to her face - Nat King Cole 01h 24'48" On the street where you live - Bryn Terfel CAMELOT (1960) 01h 28'34" Camelot - Bryn Terfel 01h 31'28" I wonder what the king is doing tonight - Richard Harris 01h 33'25" How to handle a woman - Brian Stokes Mitchell 01h 38'26" If ever I would leave you - Robert Goulet 01h 41'34" Suite - Julie Andrews & Chorus GIGI (1973) 01h 50'38" Main title & Thank Heaven for little girls - Maurice Chevalier 01h 54'55" The night they invented champagne - Vanessa Hudgens, Victoria Clark & Corey Cott 01h 59'26" I remember it well - Hermione Gingold & Maurice Chevalier 02h 01'46" Gigi - Corey Cott 02h 04'53" I'm glad I'm not young anymore - Maurice Chevalier 02h 07'43" Paris is Paris again - Howard McGillin, Steffanie Leigh & Vanessa Hudgens THE LITTLE PRINCE (1975) 02h 11'23" Be happy - Donna McKechnie 02h 13'52" Little prince - Richard Kiley 02h 17'03" A snake in the grass - Bob Fosse 02h 22'06" I never met a rose - Bryn Terfel 02h 24'30" Closer and closer and closer - Gene Wilder También os recomiendo que si queréis leer más sobre esta pareja de autores visitéis los siguientes enlaces de esta web FREDERICK LOEWE, músico ALAN JAY LERNER, letrista LERNER Y LOEWE

Alan Jay LERNER

Play Episode Listen Later Feb 20, 2019 98:03

Alan Jay Lerner estudió en Harvard, donde tuvo compañeros de clase como John F. Kennedy o Leonard Bernstein con el que colaboró escribiendo la letra del himno “Lonely men of Harvard” y aunque sus trabajos como letrista más conocidos fueron los que hizo con el músico Frederick Loewe que ya vimos en la anterior playlist, también lo hizo con otros músicos no menos famosos y es esa parte menos conocida la que vamos a tratar en esta playlist. Trabajó con Kurt Weill en el musical LOVE LIFE y probó suerte en el cine escribiendo para Burton Lane las letras de las canciones para la película "Bodas reales" (Royal wedding). Su guión para la película UN AMERICANO EN PARÍS, le daría el Oscar, aunque aquí las canciones llevaban música y letras de los Gershwin. Con Burton Lane trabajó en una adaptación inacabada de “HUCKLEBERRY FINN”, en "ON A CLEAR DAY YOU CAN SEE FOREVER" (1965) y "CARMELINA" (1979). Escribió el musical "COCO" con Andre Previn (1969), "LOLITA, MY LOVE" con John Barry (1971), "1600 PENNSYLVANIA AVENUE" con Leonard Bernstein (1976) y "DANCE A LITTLE CLOSER" con Charles Strouse (1983). Andrew Lloyd Webber le llamó para que escribiera las letras del musical "The Phantom of the Opera", pero tras escribir "Masquerade", avisó que debía abandonar el trabajo ya que le habían diagnosticado un tumor cerebral y tenía pérdidas de memoria. También rechazó hacerse cargo de la adaptación al inglés del musical "Les Miserables" por el mismo motivo. Aquí os dejamos algunas de las letras menos conocidas de Alan Jay Lerner con excelentes intérpretes que van de Julie Andrews o Barbra Streisand a Brent Barrett o Bryn Terfel, incluso el mismo Alan Jay Lerner cantando un tema que se cortó de “My Fair Lady” que con música y letra suyas interpretaba él mismo en algunas ocasiones. Espero disfrutéis de este Alan Jay Lerner menos conocido 00h 00'00" Presentación 00h 02'47" Cabecera LOVE LIFE (Kurt Weill) 1948 00h 03'23" Green up time - Brent Barrett 00h 07'19" Here I'll stay - Julie Andrews 00h 11'37" Economics - Brent Barrett 00h 15'11" This is the life - Bryn Terfel ROYAL WEDDING (Burton Lane) 1951 00h 21'25" Too late now - Brent Barrett & Tami Tapp 00h 25'14" How could you believe me - Jane Powell & Fred Astaire 00h 28'18" I left my hat in Haiti - Brent Barrett MY FAIR LADY (Alan Jay Lerner) 1956 00h 31'26" Oh, come to the ball - Alan Jay Lerner HUCKLEBERRY FINN (Burton Lane) 1960 00h 34'06" Headin' for New Orleans - Brent Barrett COCO (Andre Previn) 1969 00h 37'54" Someone on your side - Julie Andrews ON A CLEAR DAY YOU CAN SEE FOREVER (Burton Lane) 1969 00h 40'47" What did I have that I don't have - Julie Andrews 00h 45'00" Melinda - Yves Montand 00h 47'14" Go to sleep - Barbra Streisand 00h 50'13" Come back to me - Yves Montand 00h 54'34" Hurry, it's lovely up here - Bryn Terfel 00h 57'45" She wasn't you - Brent Barrett 01h 00'42" On a clear day - Yves Montand & Barbra Streisand LOLITA, MY LOVE (John Barry) 1971 01h 05'17" Overture 01h 08'13" In the broken promise land of fifteen - Brent Barrett 01h 12'09" Going going gone - Shirley Bassey 01h 14'23" Tell me, tell me - Brent Barrett 1600 PENNSYLVANIA AVENUE (Leonard Bernstein) 1976 01h 16'54" Take care of this house - Barbra Streisand CARMELINA (Burton Lane) 1979 01h 20'55" One more walk around the garden - Julie Andrews 01h 25'00" Why him - Liz Robertson DANCE A LITTLE CLOSER (Charles Strouse) 1983 01h 27'21" Anyone who loves - Brent Barrett 01h 30'04" There's always one you can't forget - Julie Andrews MY MAN GODFREY (Gerard Kenny & Kristi Kane) 1985 - inacabado 01h 33'43" Garbage isn't what it used to be - Gerard Kenny

CUM 2.05: Camelot

new york finale broadway presentaci curiosidades camelot my fair lady lancelot mesa redonda fie rey arturo oscar hammerstein alan jay lerner frederick loewe

Play Episode Listen Later Feb 19, 2019 98:59

Traemos "CAMELOT", un musical de los compositores de "MY FAIR LADY", "GIGI" o "LA LEYENDA DE LA CIUDAD SIN NOMBRE", por citar algunos de sus trabajos más populares. Se trata de Alan Jay Lerner y Frederick Loewe, un equipo fundamental en el afianzamiento del teatro musical tal como lo conocemos y que siguieron con las pautas marcadas por Oscar Hammerstein haciendo que las canciones estén integradas en la historia y ayuden a avanzar la trama. He elegido "CAMELOT", porque no se ha estrenado en teatro en nuestro país y la versión que se hizo para cine, como era habitual, cortó alguno de los temas y con el tiempo casi ha pasado a quedar un poco en el olvido tras la aparición de películas o series más modernas como "El primer caballero" o "Camelot" que cuentan la historia del Rey Arturo, los caballeros de la Mesa Redonda o los amores de Guenevere con Lancelot, aunque no con ese punto musical, a veces irónico, a veces fantástico, a veces dramático que creo que ha resistido muy bien el paso del tiempo. La versión escogida para el podcast es el original de Broadway por ser la más completa, aunque he añadido hasta algún número que fue cortado antes de estrenarse en New York y que cuenta con un excelente reparto: Richard Burton (Arturo), rey de Inglaterra Julie Andrews (Guenevere), reina de Inglaterra Robert Goulet (Lancelot), caballero francés Roddy McDowall (Mordred) , hijo bastardo de Arturo Espero os guste 00h 00'00" Presentación 00h 04'10" Cabecera 00h 05'52" Obertura 00h 09'40" March 00h 12'19" I wonder what the king is doing tonight 00h 15'00" The simple joys of maidenhood 00h 20'09" Camelot 00h 23'10" Follow me 00h 27'19" C'est moi 00h 32'11" The lusty month of May 00h 36'46" Then you may take me to the fair 00h 42'28" How to handle a woman 00h 45'53" The jousts 00h 52'00" Proposition / Resolution 00h 57'08" Before I gaze at you again 00h 59'13" If ever I would leave you 01h 03'34" The seven deadly vertues 01h 05'47" What do the simple folk do? 01h 11'25" Persuassion 01h 16'26" Fie on Godness 01h 20'27" I loved you once in silence 01h 24'16" Guenevere 01h 29'03" Finale ultimo 01h 30'50" Curiosidades y conclusiones Si queréis leer algo más sobre el musical o la película os remito a los siguientes artículos aparecidos en la página por si os interesasen CAMELOT ALAN JAY LERNER, letrista FREDERICK LOEWE, músico LERNER & LOEWE Espero os haya gustado y nos despedimos hasta un nuevo podcast con una selección de canciones del tandem Lerner & Loewe, para que la podáis escuchar sin interrupciones.

L4M: Alan Jay LERNER

Play Episode Listen Later Feb 19, 2019 98:03

Alan Jay Lerner estudió en Harvard, donde tuvo compañeros de clase como John F. Kennedy o Leonard Bernstein con el que colaboró escribiendo la letra del himno “Lonely men of Harvard” y aunque sus trabajos como letrista más conocidos fueron los que hizo con el músico Frederick Loewe que ya vimos en la anterior playlist, también lo hizo con otros músicos no menos famosos y es esa parte menos conocida la que vamos a tratar en esta playlist. Trabajó con Kurt Weill en el musical LOVE LIFE y probó suerte en el cine escribiendo para Burton Lane las letras de las canciones para la película "Bodas reales" (Royal wedding). Su guión para la película UN AMERICANO EN PARÍS, le daría el Oscar, aunque aquí las canciones llevaban música y letras de los Gershwin. Con Burton Lane trabajó en una adaptación inacabada de “HUCKLEBERRY FINN”, en "ON A CLEAR DAY YOU CAN SEE FOREVER" (1965) y "CARMELINA" (1979). Escribió el musical "COCO" con Andre Previn (1969), "LOLITA, MY LOVE" con John Barry (1971), "1600 PENNSYLVANIA AVENUE" con Leonard Bernstein (1976) y "DANCE A LITTLE CLOSER" con Charles Strouse (1983). Andrew Lloyd Webber le llamó para que escribiera las letras del musical "The Phantom of the Opera", pero tras escribir "Masquerade", avisó que debía abandonar el trabajo ya que le habían diagnosticado un tumor cerebral y tenía pérdidas de memoria. También rechazó hacerse cargo de la adaptación al inglés del musical "Les Miserables" por el mismo motivo. Aquí os dejamos algunas de las letras menos conocidas de Alan Jay Lerner con excelentes intérpretes que van de Julie Andrews o Barbra Streisand a Brent Barrett o Bryn Terfel, incluso el mismo Alan Jay Lerner cantando un tema que se cortó de “My Fair Lady” que con música y letra suyas interpretaba él mismo en algunas ocasiones. Espero disfrutéis de este Alan Jay Lerner menos conocido 00h 00'00" Presentación 00h 02'47" Cabecera LOVE LIFE (Kurt Weill) 1948 00h 03'23" Green up time - Brent Barrett 00h 07'19" Here I'll stay - Julie Andrews 00h 11'37" Economics - Brent Barrett 00h 15'11" This is the life - Bryn Terfel ROYAL WEDDING (Burton Lane) 1951 00h 21'25" Too late now - Brent Barrett & Tami Tapp 00h 25'14" How could you believe me - Jane Powell & Fred Astaire 00h 28'18" I left my hat in Haiti - Brent Barrett MY FAIR LADY (Alan Jay Lerner) 1956 00h 31'26" Oh, come to the ball - Alan Jay Lerner HUCKLEBERRY FINN (Burton Lane) 1960 00h 34'06" Headin' for New Orleans - Brent Barrett COCO (Andre Previn) 1969 00h 37'54" Someone on your side - Julie Andrews ON A CLEAR DAY YOU CAN SEE FOREVER (Burton Lane) 1969 00h 40'47" What did I have that I don't have - Julie Andrews 00h 45'00" Melinda - Yves Montand 00h 47'14" Go to sleep - Barbra Streisand 00h 50'13" Come back to me - Yves Montand 00h 54'34" Hurry, it's lovely up here - Bryn Terfel 00h 57'45" She wasn't you - Brent Barrett 01h 00'42" On a clear day - Yves Montand & Barbra Streisand LOLITA, MY LOVE (John Barry) 1971 01h 05'17" Overture 01h 08'13" In the broken promise land of fifteen - Brent Barrett 01h 12'09" Going going gone - Shirley Bassey 01h 14'23" Tell me, tell me - Brent Barrett 1600 PENNSYLVANIA AVENUE (Leonard Bernstein) 1976 01h 16'54" Take care of this house - Barbra Streisand CARMELINA (Burton Lane) 1979 01h 20'55" One more walk around the garden - Julie Andrews 01h 25'00" Why him - Liz Robertson DANCE A LITTLE CLOSER (Charles Strouse) 1983 01h 27'21" Anyone who loves - Brent Barrett 01h 30'04" There's always one you can't forget - Julie Andrews MY MAN GODFREY (Gerard Kenny & Kristi Kane) 1985 - inacabado 01h 33'43" Garbage isn't what it used to be - Gerard Kenny

L4M: LERNER & LOEWE Playlist

Play Episode Listen Later Feb 19, 2019 149:52

En 1942 el compositor Frederick Loewe buscaba un letrista para sus composiciones y le presentaron a Alan Jay Lerner con el que comenzó a trabajar hasta que estrenaron su primer musical como Lerner & Loewe en 1945 titulado THE DAY BEFORE SPRING, al que seguirían éxitos como BRIGADOON, PAINT YOUR WAGON que al llevar al cine en 1969 se estrenó en España como “La leyenda de la ciudad sin nombre”. MY FAIR LADY les llegó tras haber sido rechazada por Rodgers y Hammerstein que encontraban difícil escribir un musical del Pigmalion de Bernard Shaw pero Lerner supo escribir el libreto, manteniendo el espíritu de la obra y se convirtió en el exitazo que conocemos, ganando 7 Tonys y 8 Oscars en 1964, cuando fue llevada al cine dirigida por George Cukor. Metro Goldwyn Mayer les encargó un musical sobre GIGI que aunque ganó 9 Oscars en 1960, todo un cúmulo de problemas enfrentaron a Lerner y Loewe, mientras trataban de poner en pie el musical CAMELOT, como explicamos en el podcast publicado este mes y Loewe decidió abandonar el musical. Aún escribieron la partitura para THE LITTLE PRINCE, película basada en el cuento de Antoine de Saint-Exupéry, que dirigió Stanley Donen, con colaboraciones de Gene Wilder o Bob Fosse, que no evitaron que se hundiese en taquilla marcando el fin de sus trabajos como equipo. Adjuntamos los temas e intérpretes por el orden en que aparecen en la playlist. Espero os guste 00h 00'00" Presentación 00h 02'35" Cabecera WHAT'S UP (1943) 00h 03'11" My last love - Brent Barrett THE DAY BEFORE SPRING (1945) 00h 04'24" You haven't changed - Brent Barrett & Lauren Bacall 00h 06'14" My love is a married man - Julie Andrews BRIGADOON (1947) 00h 12'21" Begining 00h 17'39" Almost like being in love - Robert Goulet & Sally Ann Howes 00h 20'27" The heather on the hill - Brent Barret & Rebecca Luker 00h 24'27" Come to me, bend to me - Andy WIlliams 00h 27'46" Dance 00h 31'40" There but for you I go - Bryn Terfel PAINT YOUR WAGON (1951) 00h 35'19" I'm on my way 00h 39'03" I talk to the trees - Clint Eastwood 00h 41'55" They call the wind Maria - Harve Presnell 00h 45'29" There's a coach comin' in - Harve Presnell 00h 50'22" Gold fever - Clint Eastwood 00h 53'27" Wand'rin star - Lee Marvin MY FAIR LADY (1956) 00h 57'52" Suite - Julie Andrews & Chorus 01h 08'38" With a little bit of luck - Bryn Terfel 01h 12'24" I'm an ordinary man - Jonathan Pryce 01h 17'08" Get me to the church on time - Bob Hoskins 01h 22'05" I've grown accustomed to her face - Nat King Cole 01h 24'48" On the street where you live - Bryn Terfel CAMELOT (1960) 01h 28'34" Camelot - Bryn Terfel 01h 31'28" I wonder what the king is doing tonight - Richard Harris 01h 33'25" How to handle a woman - Brian Stokes Mitchell 01h 38'26" If ever I would leave you - Robert Goulet 01h 41'34" Suite - Julie Andrews & Chorus GIGI (1973) 01h 50'38" Main title & Thank Heaven for little girls - Maurice Chevalier 01h 54'55" The night they invented champagne - Vanessa Hudgens, Victoria Clark & Corey Cott 01h 59'26" I remember it well - Hermione Gingold & Maurice Chevalier 02h 01'46" Gigi - Corey Cott 02h 04'53" I'm glad I'm not young anymore - Maurice Chevalier 02h 07'43" Paris is Paris again - Howard McGillin, Steffanie Leigh & Vanessa Hudgens THE LITTLE PRINCE (1975) 02h 11'23" Be happy - Donna McKechnie 02h 13'52" Little prince - Richard Kiley 02h 17'03" A snake in the grass - Bob Fosse 02h 22'06" I never met a rose - Bryn Terfel 02h 24'30" Closer and closer and closer - Gene Wilder También os recomiendo que si queréis leer más sobre esta pareja de autores visitéis los siguientes enlaces de esta web FREDERICK LOEWE, músico ALAN JAY LERNER, letrista LERNER Y LOEWE

Cuéntame un musical 2.05: CAMELOT

new york finale musical broadway c'est presentaci curiosidades camelot my fair lady lancelot mesa redonda fie rey arturo oscar hammerstein alan jay lerner frederick loewe

Play Episode Listen Later Feb 19, 2019 98:59

Traemos "CAMELOT", un musical de los compositores de "MY FAIR LADY", "GIGI" o "LA LEYENDA DE LA CIUDAD SIN NOMBRE", por citar algunos de sus trabajos más populares. Se trata de Alan Jay Lerner y Frederick Loewe, un equipo fundamental en el afianzamiento del teatro musical tal como lo conocemos y que siguieron con las pautas marcadas por Oscar Hammerstein haciendo que las canciones estén integradas en la historia y ayuden a avanzar la trama. He elegido "CAMELOT", porque no se ha estrenado en teatro en nuestro país y la versión que se hizo para cine, como era habitual, cortó alguno de los temas y con el tiempo casi ha pasado a quedar un poco en el olvido tras la aparición de películas o series más modernas como "El primer caballero" o "Camelot" que cuentan la historia del Rey Arturo, los caballeros de la Mesa Redonda o los amores de Guenevere con Lancelot, aunque no con ese punto musical, a veces irónico, a veces fantástico, a veces dramático que creo que ha resistido muy bien el paso del tiempo. La versión escogida para el podcast es el original de Broadway por ser la más completa, aunque he añadido hasta algún número que fue cortado antes de estrenarse en New York y que cuenta con un excelente reparto: Richard Burton (Arturo), rey de Inglaterra Julie Andrews (Guenevere), reina de Inglaterra Robert Goulet (Lancelot), caballero francés Roddy McDowall (Mordred) , hijo bastardo de Arturo Espero os guste 00h 00'00" Presentación 00h 04'10" Cabecera 00h 05'52" Obertura 00h 09'40" March 00h 12'19" I wonder what the king is doing tonight 00h 15'00" The simple joys of maidenhood 00h 20'09" Camelot 00h 23'10" Follow me 00h 27'19" C'est moi 00h 32'11" The lusty month of May 00h 36'46" Then you may take me to the fair 00h 42'28" How to handle a woman 00h 45'53" The jousts 00h 52'00" Proposition / Resolution 00h 57'08" Before I gaze at you again 00h 59'13" If ever I would leave you 01h 03'34" The seven deadly vertues 01h 05'47" What do the simple folk do? 01h 11'25" Persuassion 01h 16'26" Fie on Godness 01h 20'27" I loved you once in silence 01h 24'16" Guenevere 01h 29'03" Finale ultimo 01h 30'50" Curiosidades y conclusiones Si queréis leer algo más sobre el musical o la película os remito a los siguientes artículos aparecidos en la página por si os interesasen CAMELOT ALAN JAY LERNER, letrista FREDERICK LOEWE, músico LERNER & LOEWE Espero os haya gustado y nos despedimos hasta un nuevo podcast con una selección de canciones del tandem Lerner & Loewe, para que la podáis escuchar sin interrupciones.

Prue Leith and the Inheritance Tracks of Sir Tim Rice

Saturday Live

Play Episode Listen Later Dec 8, 2018 83:17

Prue Leith has been in our cooking consciousness for years but her appointment as a judge on TV's bake off has exposed her culinary expertise to a whole new audience and inspired a new cook book. She joins Richard and Aasmah along with: Marianne Power who was such a fan of self-help she decided to follow a book a month for a year. She joins us to reflect on her journey of self discovery. Former professional footballer Cherno Samba was tipped to be a superstar in UK football but whilst his career stalled he became a legend on computer game Championship Manager. Now training to be a coach, he tell us what happened. Clare Norburn sings medieval carols with her group The Telling – she’s going to tell us how the first carols were not to do with Christmas… JP meets Rob in Bridgend who has been helped out of homelessness by The Radio 4 Christmas Appeal with St Martin in the Field’s and Inheritance Tracks from Tim Rice who chooses You Did It, from My Fair Lady, with music by Frederick Loewe and lyrics by Alan Jay Lerner and with God On Our Side, written by Bob Dylan and performed by Manfred Mann. Producer: Corinna Jones Editor: Eleanor Garland

tv radio united kingdom field bob dylan st martin my fair lady manfred mann tim rice championship manager prue leith bridgend christmas appeal you did it alan jay lerner sir tim rice frederick loewe marianne power aasmah inheritance tracks

The Little Prince

Adapt or Perish

Play Episode Listen Later Aug 28, 2018 92:33

In this episode of Adapt or Perish, we discuss Antoine de Saint-Exupéry’s The Little Prince! For this episode, we read and watched: The Little Prince, Antoine de Saint-Exupéry’s 1943 novella. Read on iBooks or Amazon. Will Vinton’s 1979 claymation short film of The Little Prince. Watch on YouTube. The 1974 movie musical, directed by Stanley Donen, written by Alan Jay Lerner and Frederick Loewe, and starring Richard Kiley, Bob Fosse, and Gene Wilder. Watch on iTunes or Amazon. Soundtrack available on iTunes or Amazon. The 2015 animated movie adaptation, directed by Mark Osborne, and starring Jeff Bridges, Rachel McAdams, Paul Rudd, and Mackenzie Foy. Watch on Netflix. Footnotes: Voltaire’s Candide Wind, Sand and Stars and Night Flight, also written by de Saint-Exupéry The works of Will Vinton, including The California Raisins, The Adventures of Mark Twain, Moonwalker, and Rip Van Winkle Lerner and Loewe, writers of Brigadoon, Paint Your Wagon, Camelot, Gigi, and My Fair Lady Stanley Donen, director of Singin’ in the Rain, On the Town, Seven Brides for Seven Brothers, Funny Face, and Damn Yankees Richard Kiley, expensive star of Man of La Mancha The rose, a woody perennial flowering plant of the genus Rosa The Star Wars Holiday Special BOB FOSSE The theatrical trailer for the 1974 musical “Weird Al” Yankovic’s Jurassic Park music video, directed by Mark Osborne Bone, the comics series by Jeff Smith Gillian Armstrong and Robin Swicord’s Little Women (discussed in episode 7 of this podcast!) You can follow Adapt or Perish on Twitter, Instagram, and Facebook, and you can find us online at adaptorperishcast.com. If you want to send us a question or comment, you can email us at adaptorperishcast@gmail.com or tweet using #adaptcast.

BP047 Gigi (1958) - with special guest Kiri Pritchard-McLean

The Best Pick movie podcast - in release order

Play Episode Listen Later Aug 15, 2018 68:49

Best Pick with John Dorney, Jessica Regan and Tom Salinsky. Episode 47: Gigi (1958) - with special guest Kiri Pritchard-McLean Released 6 November 2019 For this episode, we watched Gigi, written by Alan Jay Lerner (won) with music by Frederick Loewe and Andre Previn (won) from the book by Colette. It was directed by Vincente Minelli (won) and produced by Arthur Freed. The stars were Leslie Caron, Louis Jourdan, Maurice Chevalier and Hermione Gingold. It also won for its Art Direction, Cinematography, Costume Design, Film Editing and Best Original Song. http://www.kiripritchardmclean.co.uk https://twitter.com/killnofillpod Next time we will be discussing The Greatest Show on Earth. If you want to watch it before listening to the next episode you can buy the DVD (it is not available on Blu-ray) on Amazon.co.uk, or Amazon.com, or you can download it via iTunes (UK) or iTunes (USA). To send in your questions, comments, thoughts and ideas, you can join our Facebook group, Tweet us on @bestpickpod or email us on bestpickpod@gmail.com. You can also Tweet us individually, @MrJohnDorney, @ItsJessRegan or @TomSalinsky. You should also visit our new website at https://bestpickpod.com and sign up to our mailing list to get notified as soon as a new episode is released. Just follow this link: http://eepurl.com/dbHO3n.

Meloodika. Igihaljas "Minu veetlev leedi"

Play Episode Listen Later Jul 15, 2018 53:51

uttu on Frederick Loewe igihalja muusikali "Minu veetlev leedi" sünniloost ning sellest, kuidas valmis film. Lisaks katked 1963. aastal "Estonias" etendunud Voldemar Panso lavastusest.

minu lisaks estonias frederick loewe voldemar panso

Meloodika. Igihaljas "Minu veetlev leedi"

Play Episode Listen Later Jul 15, 2018 53:51

uttu on Frederick Loewe igihalja muusikali "Minu veetlev leedi" sünniloost ning sellest, kuidas valmis film. Lisaks katked 1963. aastal "Estonias" etendunud Voldemar Panso lavastusest.

minu lisaks estonias frederick loewe voldemar panso

Especial Lerner & Loewe

hollywood broadway sus camelot lerner loewe brigadoon alan jay lerner frederick loewe

Play Episode Listen Later Jul 10, 2018 61:40

Dos de los más importantes autores de musicales de Broadway y Hollywood: el letrista Alan Jay Lerner (derecha en la imagen) y el músico Frederick Loewe. Sus más importantes obras se hicieron populares gracias a la repercusión cinematográfica, siendo producciones, salvo la última, que tuvieron un notable éxito de público. Brigadoon, Gigi, My fair lady, Camelot, La leyenda de la ciudad sin nombre y El principito son ya historia viva del séptimo arte.

Especial Lerner & Loewe

hollywood broadway sus camelot lerner loewe brigadoon alan jay lerner frederick loewe

Play Episode Listen Later Jul 10, 2018 61:40

Dos de los más importantes autores de musicales de Broadway y Hollywood: el letrista Alan Jay Lerner (derecha en la imagen) y el músico Frederick Loewe. Sus más importantes obras se hicieron populares gracias a la repercusión cinematográfica, siendo producciones, salvo la última, que tuvieron un notable éxito de público. Brigadoon, Gigi, My fair lady, Camelot, La leyenda de la ciudad sin nombre y El principito son ya historia viva del séptimo arte.

La Cara B de Cinemasmusic - Playlist Bandas sonoras western

Cinemasmusic

Play Episode Listen Later Feb 12, 2018 143:32

En este podcast os invitamos a hacer un recorrido por las bandas sonoras más representativas de este género., que es sin lugar a dudas, el género clásico americano por excelencia. Música de algunos de los mejores compositores de la historia del cine con obras maestras inolvidables. En la playlist escucharemos bandas sonoras de Ennio Morricone, John Williams, Elmer Bernstein, Jerry Goldsmith, Alex North, Dimitri Tiomkin, John Barry, Victor Young, Bruce Broughton y muchos más. Sabemos que nos hemos dejado muchas, y ha sido complicado hacer la selección, pero las que hemos seleccionado seguro que os trasladarán al Oeste Americano. En este podcast nos vamos a hace mucho tiempo, a una tierra muy lejana , salvaje y legendaria. En la Cara B nos vamos al Oeste. Tracklist: - Horizontes de Grandeza (Jerome Moross) 1:45 - La Conquista del Oeste (Alfred Newman) 5:03 - La leyenda de la ciudad sin nombre “I’m on my way” (Frederick Loewe, André Previn, Nelson Riddle) 12:10 - El bueno el feo y el malo (Ennio Morricone) 15:30 - El bueno, el feo y el malo (El extásis del oro) (Ennio Morricone) 18:11 - Los 7 magníficos (Elmer Bernstein) 21:29 - Centauros del desierto (Max Steiner) 25:00 - Duelo en O.K. Corral (Dimitri Tiomkin) 26:33 - John Wayne y los Cowboys (John Williams) 28:49 - Duelo al sol (Dimitri Tiomkin) 38:27 - El fuera de la ley (Jerry Fielding) 42:53 - Silverado (Bruce Broughton) 47:15 - La balada de Cable Hogue (Jerry Goldsmith) 51:14 - Por un puñado de dólares (Ennio Morricone) 54:12 - Río Bravo “My rifle, my pony and me” (Dean Martin) 56:53 - Un vaquero sin rumbo (Basil Poledouris) 58:40 - Los profesionales (Maurice Jarre) 1:02:57 - Bailando con lobos “John Dumbar theme” (John Barry) 1:08:18 - Bailando con lobos “Buffalo hunt” (John Barry) 1:10:31 - Solo ante el peligro “Do not forsake me, oh, my darling“ (Dimitri Tiomkin / Ned Washington) 1:13:10 - Hasta que llegó su hora “Man with a harmonica” (Ennio Morricone) 1:15:37 - Hasta que llegó su hora “L’America di Jill” (Ennio Morricone) 1:18:53 - Shane (Victor Young) 1:21:36 - Sillas de montar calientes (John Morris) 1:24:08 - Wyatt Earp (James Newton Howard) 1:29:10 - Dos hombres contra el oeste (Jerry Goldsmith) 1:33:49 - Johnny Guitar (Victor Young / Peggy Lee) 1:37:32 - Por un puñado de dólares (Ennio Morricone) 1:39:33 - Valor de Ley (Elmer Bernstein) 1:42:26 - Sin perdón (Lennie Niehaus / Clint Eastwood) 1:47:02 - Muerde la bala (Alex North) 1:53:14 - El Álamo (Dimitri Tiomkin) 1:55:56 - El árbol del ahorcado (Max Steiner) 1:59:13 - El árbol del ahorcado “The hanging tree” (Max Steiner / Marty Robbins) 2:01:09 - Tombstone (Bruce Broughton) 2:03:58 - La leyenda de la ciudad sin nombre “Wand’rin star” 2:06:02 - 3:10 to Yuma (Marco Beltrami) 2:10:27 - Río Bravo “Rio Bravo” (Dimitri Tiomkin /Dean Martin) 2:12:29 - Río Bravo “De Guella nº4” (Dimitri Tiomkin) 2:15:24 - 3 10 to Yuma (George Duning / Frankie Laine) 2:18:18 - El Llanero solitario “William Tell overture” (Giacomo Rossini) 2:20:03 Puedes enviar tus comentarios y sugerencias por twitter a @lacarab_cine *Imagen de Clint Eastwood cedida amablemente por Andrés Antúnez de DibuNaif

Meloodika. Jaak Jõekallas

Play Episode Listen Later Jan 18, 2018 55:43

Saates kõlab valik kaunitest soololauludest muusikalide maailmast heliloojate Richard Rodgersi, Frank Loesseri, Jerry Bocki, Leonard Bernsteini, Frederick Loewe`i, Lionel Bart`i, Jule Styne`i, Andrew Lloyd Webberi, Stephen Sondheimi ja Claude-Michel Schönbergi sulest.

saates jule styne claude michel sch lionel bart frederick loewe jaak j

Meloodika. Jaak Jõekallas

Broadway Babies: A Musical Theatre Podcast

Play Episode Listen Later Jan 18, 2018 55:43

Saates kõlab valik kaunitest soololauludest muusikalide maailmast heliloojate Richard Rodgersi, Frank Loesseri, Jerry Bocki, Leonard Bernsteini, Frederick Loewe`i, Lionel Bart`i, Jule Styne`i, Andrew Lloyd Webberi, Stephen Sondheimi ja Claude-Michel Schönbergi sulest.

saates jule styne claude michel sch lionel bart frederick loewe jaak j

Ep. 3: A Hymn to Her: "My Fair Lady," 2001

Play Episode Listen Later Jan 17, 2018 64:41

Wouldn’t it be loverly if the Broadway Babies discussed the dynamic Pygmalion musical "My Fair Lady"? Just you wait, this episode is diving into some juicy drama surrounding the 2001 West End revival’s multiple Elizas, the importance of healthy singing as a live performer, the relationship between Eliza and Henry, and more! With a little bit of luck, maybe we will be able to unpack this beast of a show in an hour … Podcast cover art: David Taylor Twitter: @bwaybabies Facebook: Facebook.com/broadwaybabiespodcast iTunes | Spotify | Amazon CD Songs "Overture/Prologue" "I Could Have Danced All Night" (performed by Martine McCutcheon) "On the Street Where You Live" (performed by Mark Umbers) "With a Little Bit of Luck" (performed by Dennis Waterman) "Ascot Gavotte" (performed by My Fair Lady company) "I've Grown Accustomed to Her Face" (performed by Jonathan Pryce) (All lyrics by Alan Jay Lerner & music by Frederick Loewe; orchestrated by William David Brohn) Show Notes A news profile about Martine McCutcheon’s understudy, Alexandra Jay, who had her own 42nd Street moment when she had to go on as Eliza on the eve of opening night with about a day’s notice. It’s very press-controlled, fluff piece-y, lots of quotes from Cameron Mackintosh, and it weirdly talks about her salaries at jobs. A really interesting documentary on YouTube about the 2001 "My Fair Lady" West End production, with rehearsal scenes of "The Rain in Spain" and "With a Little Bit of Luck," as well as the production history of the musical and its then-infamous straight play source material Jonathan Pryce shares his opinions about the “Eliza flux” with some pretty straightforward American talk show hosts… Martine McCutcheon sings "Loverly" on a TV show, and she’s loverly, but it’s not quite up to par as a classical voice. For what I mean by that: A video of Audra taking a high-as-hell D flat in "Danced All Night" after pianist Seth Rudetsky surprises her with a key change, and she still nails it because she’s just FLAWLESS.

tv american spain rain luck little bit hymns west end flawless my fair lady pygmalion jonathan pryce broadway babies cameron mackintosh alan jay lerner seth rudetsky martine mccutcheon frederick loewe her face street where you live elizas

Meloodika: igihaljas “Minu veetlev leedi”

Play Episode Listen Later Aug 13, 2017 53:51

Juttu on Frederick Loewe igihalja muusikali “Minu veetlev leedi” sünniloost ning sellest, kuidas valmis film. Lisaks katked 1963. aastal “Estonias” etendunud Voldemar Panso lavastusest. Saatejuht on Jaak Jõekallas.

juttu minu lisaks saatejuht estonias frederick loewe jaak j voldemar panso

Meloodika: igihaljas “Minu veetlev leedi”