Podcasts about Neal Hefti

En la oscuridad de la baticueva descubrimos unos ritmos increíbles inspirados en Batman: desde salsa homenajeando a Neal Hefti y su tema clásico del caballero de la noche, pasando por el metal y llegando hasta el ska.  Acompáñanos en un especial musical lleno de curiosidades e historias. ¡Bienvenidos al mejor toque de su vida, bienvenidos a la Banda del Cómic! Lista de canciones Batman's bugaloo: https://open.spotify.com/intl-es/track/5CctHwjPABuDMjDtq7Xu4e Batman on acid: https://open.spotify.com/intl-es/track/2fE38kC2NdxapYVNFea0N1?si=d3db1812a4644cb5 Batman opening https://www.youtube.com/watch?v=LmC1mb0l3qY Batman theme https://open.spotify.com/intl-es/track/2wqqjLJJYLZBeVY79PIKpz?si=a096f061571c4ac5 Conducen: Carlos Mario Ríos (Bobcito) y Carlos Londoño Edición: Juan Camilo Hernández

Many of the musicians I know are bootstrappers. We get things done, and we get things done the easiest way possible. I loved this conversation with Marc Hoffman, who went GLOBAL to make his project all the more impressive! Marc Hoffman was born in NC, received a BM in composition from the North Carolina School of the Arts, and completed additional study in film composition at the University of Southern California. He also studied at The Dartington International Summer School of Music in Devon, England. Notable composition teachers include David Ott, Sherwood Shaffer, Leo Arnaud, and Neal Hefti. He composes concert, film, jazz instrumental and vocal, solo piano and choral pieces and songs. Recent commissions include a string quartet, made possible by a grant from ASG, and a woodwind trio composed for Charlotte New Music Festival, and premiered by Phoenix Down Trio. Marc performs 200-plus dates a year as a soloist and with his trio, with a repertoire of original jazz, and his own arrangements of standards, ballads, Motown, and pop. Also an educator, Marc teaches composition, jazz improv, piano, and voice. His woodwind trio, Telegraph, was recorded in Lviv, Ukraine during the conflict by members of the Lviv National Philharmonic. http://www.marchoffman.com https://www.facebook.com/marchoffmandotcom/ https://www.instagram.com/marchoffmanmusic/ https://x.com/marchoffman https://www.tiktok.com/@marchoffmanmusic   Thanks for joining me on Crushing Classical!  Theme music and audio editing by DreamVance. You can join my email list HERE, so you never miss an episode! I help people to lean into their creative careers and start or grow their income streams. You can read more or hop onto a short discovery call from my website. I'm your host, Jennet Ingle. I love you all. Stay safe out there!      

GGACP celebrates the birthday of TV's original Caped Crusader, Adam West (b. September 19, 1928) by revisiting Gilbert and Frank's tribute to the beloved actor (and memorable podcast guest). Also in this episode: "Legends of the Superheroes"! Uma Thurman does the Batusi! Adam teams with the Three Stooges! The genius of Neal Hefti! And the unsung brilliance of “Lookwell.” Learn more about your ad choices. Visit megaphone.fm/adchoices

Spin It is getting Splanky! We're talking about Big Band royalty, the one and only Count Basie! His 1958 instrumental record The Atomic Mr. Basie is the culmination of the talent of dozens of musicians and decades of bandleading experience. Find out how The Kid From Red Bank went from being the town's (second) best drummer to one of the genre's best pianists! On E=MC2, the Count joins arranger (and Batman theme song composer) Neal Hefti to create a pop-friendly swing record that holds tight to jazz tradition. Will they accomplish their goals? The Mixtaper teaches us about Spain, space, and a namesake kingdom that's 472,000,000 wide. Fight the Foo Birds, watch the Fantails, and hop along with Teddy The Toad as we give Basie a good ol' Double-O this week! And remember... it's all about the notes you DON'T play.Keep Spinning at www.SpinItPod.com!Thanks for listening!0:00 Intro4:46 About Count Basie14:56 About The Atomic Mr. Basie18:45 The First Grammys21:58 Basie's Career Continued23:10 Awards & Accolades24:20 Fact Or Spin25:17 He's A Real-Life Count30:31 His Kingdom Is 472,000,000 Wide34:15 Neal Hefti Helped Basie Accomplish His Goal39:33 Batman Can Go Space Truckin' Past Count Basie43:49 Album Art45:09 The Kid From Red Bank47:50 Duet49:41 After Supper51:32 Flight Of The Foo Birds54:39 Double-O56:41 Teddy The Toad57:49 Whirly-Bird59:22 Midnite Blue1:00:57 Splanky1:02:54 Fantail1:04:28 Lil' Darlin'1:06:47 Final Spin Hosted on Acast. See acast.com/privacy for more information.

GGACP celebrates the recent release of the musical documentary "Killing Me Softly with His Songs" (now streaming) by revisiting this memorable interview with Grammy and Emmy winner Charles Fox. In this episode, Charles looks back on a six-decade career of writing top 40 hits as well as themes for TV shows (“Happy Days,” “Wonder Woman,” "The Love Boat"), feature films (“Barbarella,” “9 to 5”) and game shows (“Match Game,” “What's My Line?”). Also, Charles teams with Barry Manilow, pens a tune for Burt Reynolds, witnesses the Ed Ames tomahawk incident and remembers friends Neal Hefti, Jerry Goldsmith and Henry Mancini. PLUS: “Love, American Style”! The Charles Fox Singers! The inventiveness of Ernie Kovacs! Gilbert sings the soundtrack from “Zapped!” And the boys pay loving tribute to Paul Williams! Learn more about your ad choices. Visit megaphone.fm/adchoices

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Recordings made by one of the greatest versions of the Basie band for Verve in January, 1956. Featuring arrangements by Ernie Wilkins, Neal Hefti, Joe Newman, Frank Wess and Frank Foster and solos by the two Franks, Newman, Thad Jones, Bill Hughes, Henry Coker, Benny Powell, Bill Graham, Marshall Royal and the great rhythm section of Basie, Freddie Green, Eddie Jones and Sonny Payne. --- Support this podcast: https://podcasters.spotify.com/pod/show/john-clark49/support

Learning the Blues, Part 2 - Marçal Perramon transcription Hi everyone,  For this episode, I have transcribed the  Marçel Perramon solo on Neal Hefti's blues called After Supper. The solo is informative on learning and internalising solid jazz language, especially on the turning points of the blues (between bars 4 and 5 and at the end of the form). 00:00 Introduction 02:32 1st Chorus 19:50 2nd Chorus 36:54 Solo Analysis 51:55 Whole solo Subscribe to my Channel Complete transcription in pdf Concert is available on my website: https://mirkoguerrini.com/transcriptions/ A small donation (if you can) would be much appreciated. ========================= Gear used in this video: RØDE NT-USB  Mini Versatile Studio-Quality Condenser USB Microphone with Free Software for Podcasting, Streaming, Gaming, Music Production, Vocal and Instrument Recording  https://amzn.to/3K7p6e0 Logitech StreamCam,  Live Streaming Webcam, Full 1080p HD 60fps Vertical Video, Smart auto Focus and Exposure, Dual Camera-Mount Versatility, with USB-C, for YouTube, Gaming Twitch, PC/Mac - Black https://amzn.to/3JUdkCd This episode is NOT sponsored. Some product links are affiliate links, meaning we'll receive a small commission if you buy something.

Dana and Tom with returning guest, Christine Duncan, discuss the bromantic comedy, The Odd Couple (1968): directed by Gene Saks, written by Neil Simon, music by Neal Hefti, starring Jack Lemmon and Walter Matthau.Plot Summary: "The Odd Couple" is a classic comedy directed by Gene Saks and based on the play of the same name by Neil Simon. The movie revolves around two mismatched roommates, Felix Unger and Oscar Madison. Felix (played by Jack Lemmon) is a neurotic and overly tidy individual, while Oscar (played by Walter Matthau) is a slob and a laid-back sports writer. When Felix's marriage ends in divorce, he moves in with Oscar, leading to a clash of personalities and lifestyles.The film humorously explores the ups and downs of their cohabitation, with Felix's meticulous nature constantly clashing with Oscar's messy habits. Their conflicting personalities lead to a series of hilarious and chaotic situations, creating a classic odd couple dynamic. As they navigate their differences and learn to accept each other's quirks, the film offers a heartwarming message about friendship and tolerance.You can now follow us on Instagram, Twitter, or TikTok (@gmoatpodcast) or find our Facebook page at Greatest Movie of All-Time Podcast.For more on the episode, go to: https://www.ronnyduncanstudios.com/post/the-odd-couple-1968-ft-christine-duncanFor the entire rankings list so far, go to:Full Graded List - Greatest Movies of All-Time Ronny Duncan Studios

Learning the Blues from the Masters, Part 1 - Scott Hamilton transcription Hi everyone, For this episode, I have transcribed the Scott Hamilton solo on Neal Hefti's blues called After Supper. The solo is informative on learning and internalising solid jazz language, especially on the turning points of the blues (between bars 4 and 5 and at the end of the form). 00:00 Introduction 04:18 1st Melody 08:41 2nd Melody (harmonised) 14:35 Scott Hamilton' solo (1st Chorus) 38:57 Scott Hamilton' solo (2nd Chorus) 55:49 Whole solo Subscribe to my Channel Complete transcription in pdf Concert is available on my website: https://mirkoguerrini.com/transcriptions/ A small donation (if you can) would be much appreciated. ========================= Gear used in this video: RØDE NT-USB Mini Versatile Studio-Quality Condenser USB Microphone with Free Software for Podcasting, Streaming, Gaming, Music Production, Vocal and Instrument Recording https://amzn.to/3K7p6e0 Logitech StreamCam, Live Streaming Webcam, Full 1080p HD 60fps Vertical Video, Smart auto Focus and Exposure, Dual Camera-Mount Versatility, with USB-C, for YouTube, Gaming Twitch, PC/Mac - Black https://amzn.to/3JUdkCd This video is NOT sponsored. Some product links are affiliate links, meaning we'll receive a small commission if you buy something.

In this episode of Ear and Loathing, your hosts Aaron, Damon and George (The Gitmo Bros) talk about MJ's pinto dick, a solid disaster, a robit that changes faces, and the Bare Necessities but about shooting bears. In the Torture Chamber segment, Aaron and Damon compete for meaningless points by making George listen to his most hated songs. Will George survive the Torture Chamber long enough to play one of his favorite songs? Tune in and find out! Songs featured in this episode: "We Didn't Start the Fire" (Fall Out Boy), "Batman Theme" (Neal Hefti), "One Son-of-a-Gun of a Gun" (Sgt. Barry Sadler)

durée : 01:55:42 - Retour de plage du lundi 03 juillet 2023 - par : Laurent Valero - "Un voyage dans le riche univers musical de Neal Hefti, un des plus grands compositeurs et arrangeurs américain. Il est est l'auteur de thèmes célébrissimes comme Girl talk ou lil' Darlin' mais aussi un remarquable arrangeur et compositeur de musique de films." Laurent Valero

GGACP celebrates dads everywhere with this ENCORE of a special Father's Day show featuring actor-musician Chris Lemmon and producer-director Charlie Matthau. In this episode, Chris and Charlie look back at the lives and careers of one of cinema's legendary comedy teams, Jack Lemmon and Walter Matthau. Also: Jerry Lewis turns down "Some Like it Hot," Red Skelton passes on "The Sunshine Boys," Walter "compliments" Christopher Walken and Jack runs afoul of Virna Lisi's husband. PLUS: "The Fortune Cookie"! The Ukrainian Cary Grant! The music of Neal Hefti! The complexities of Blake Edwards! Walter rescues "The Odd Couple"! And Ving Rhames pays Jack an unforgettable tribute! Learn more about your ad choices. Visit megaphone.fm/adchoices

Podcast for a deep examination into the career and life choices of Jack Nicholson. Artist and Burton scholar BJ West joins the cast to give insights on the 80s version of the now overused caped crusader. Joe ate a snail and worries it's going to reproduce in his belly. Lev, always helpful, keeps trying to feed him other mollusks. Can Patrick finally bring himself to like a superhero movie? Find out on this week's episode of 'What the Hell Happened to Them?' Email the cast at whathappenedtothem@gmail.com Disclaimer: This episode was recorded in May 2023. References may feel confusing and/or dated unusually quickly. 'Batman' is available on Blu-ray, DVD, 4K (for the rubes), and VHS: https://www.amazon.com/Batman-BD-Blu-ray-Michael-Keaton/dp/B0039208JE/ref=tmm_mfc_swatch_0?_encoding=UTF8&qid=1684009262&sr=8-2-spons Music from 'Batman TV Theme Song' by Neal Hefti and his Orchestra & Chorus and 'The Joker (That's What They Call Me)' by Billy Myles Artwork from BJ West   quixotic, united, skeyhill, vekeman, jack, nicholson, syzygy, keaton, batman, bat, man, football, 80s, superman, watergate, elfman, burton, basinger, superhero

E = mc². Einsteins berømte ligning pryder forsiden af denne big band-klassiker fra 1958. En højeksplosiv jazz-plade med arrangementer af Neal Hefti og musik af nogle af tidens helt store solister. Alle sammen samlet i mesteren Count Basies orkester. Hør historier fra tilblivelsen af pladen, samt hvad der ledte op til udgivelsen og indspilningen af dette album med den ikoniske paddehattesky på coveret. Vært: Frederik Korfix. Redaktør: Kasper Christensen. (Sendt første gang 13. maj).

Happy New Year, kittens! We're back to ring in 2023 with some bookclub awesomeness! Catch up with us with some comic and movie talk, a listener voicemail and our discussion of the epic finale to "Catwoman: Lonely City!" It's the cat's pajamas!  15:46 - Listener Feedback 21:12 - Catwoman Lonely City Book 4   Logo by Ross Radke https://www.rossradke.com/ opening and closing theme by https://onlybeast.com/  "Highway to the Danger Zone," by Kenny Loggins, "Batman Theme," by Michael Giacchino & "Batman '66" by Neal Hefti used for educational purposes only

Né il y a cent ans, le 29 octobre 1922, on doit à Neal Hefti quantité d'arrangements merveilleux pour les plus grands artistes de jazz, et des airs qui ont marqué l'histoire du grand comme du petit écran. En 1966, Batman ? C'est lui ! The Atomic Mr Basie ? Encore lui ! Sans oublier Girl Talk, générique mythique du Si Bémol et Fadaises de Pierre Bouteiller !

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Bienvenidos amantes de la música, El desafío de las orquestas de Jazz era hacer que un gran grupo de músicos avanzara con el mismo impulso relajado que lo hacía un solista. En esto Count Basie fue muy efectivo, su fórmula fue aplicar riffs cortos, llamada/respuesta, improvisación y mucho blues. esto tuvo un punto alto en el disco que escucharemos hoy, "The Mr. Atomic Basie", con su célebre portada que no pasaba inadvertida. Vale mencionar el aporte fundamental en este disco de Neal Hefti un arreglador y compositor de todos los temas del álbum, que como dijo Miles Davis "si no fuera por los arreglos de Neil Hefti la banda de Basie no sonaría tan bien como lo hace". Además el tema "Lil' Darlin'" con el que cerramos el episodio de hoy "es un ejercicio de qué tan lento puede tocar una banda sin desmoronarse", es un standard que ha sido grabado 324 veces hasta 2019, en diferentes versiones. Les invitamos a escuchar esta selección de un álbum que vale la pena conocer. Los temas son: 1. Kid from Red Bank (tema de inicio) 2. Duet 3. Double-O 4. Fantail 5. Lil' Darlin' *Suscríbete a nuestro canal. Si ya lo has hecho, considera apoyarnos en Patreon como mecenas para hacer sustentable nuestro programa y mantener nuestro viaje en vuelo. (Podrás acceder a episodios anticipados y exclusivos) patreon.com/ViajeJazz?fan_landing=true *Ayúdanos con un Me gusta, Comparte y Comenta. * En viajealmundodeljazz.com encuentra un reproductor de Jazz Moderno y Jazz Clásico.

13 septiembre 2022 - programa #143 Hoy en Sputnik Radio 105.4FM y en www.sputnikportal.com una nueva edición de Rudy Sessions Radio Show, en la que Gus y Oscar darán un paseo por el mundo de las bandas sonoras. Llegarán con las maletas cargadas de discos franceses, italianos y de blaxplotation. PLAYLIST #143: 1. NEAL HEFTI – BATMAN THEME 2. ENNIO MORRICONE – CITTÁ VIOLENTA 3. DAVID SHIRE – TALKING PELHAM ONE, TWO, THREE 4. MANFRED HÜBLER & SIEGFRIED SHAHAB – VAMPIROS LESBOS 5. ALESSANDRO ALESSANDRONI – SANGUE DI ESBIRRO 6. BBC RADIOPHONIC WORKSHOP – DOCTOR WHO 7. ROY BUUD – GET CARTER 8. SERGE GAINSBOURG – L.A. HORSE 9. LALO SCHIFRIN – ENTER THE DRAGON 10. JOHNY PATE – SHAFT IN AFRICA 11. HENRY MANCINI – PETER GUNN 12. LUIS BACALOV – ROMA BENE 13. QUINCY JONES – THE LOST MAN 14. DANIELE PATUCCHI – LA LOCA EXTRAVAGANCIA SEXI 15. HENRY MANCINI – EXPERIMENT IN TERROR 16. DIRK SANDERS - TU SERAS TERRIBLEMENTE GENTILLE 17. RY COODER – PARIS TEXAS Desde la promotora musical RUDY SESSIONS hace algún tiempo estamos intentando activar la escena musical de la isla con nuestros conciertos de carácter internacional. Todos los martes de 20 a 21 horas les haremos partícipes de nuestro amor por la música con programas en los que varios de los socios pincharán sólo buena música de variados estilos (pop, rock, rhythm & blues, power pop, garaje, groove, folk, etc.)

The cultural impact of Batman '66 was felt for decades after, and still reverberates. This time we discuss a couple more late-20th-century cartoons that showed evidence of that impact: Mighty Mouse: The New Adventures, which in 1987 gave us Night of the Bat-Bat, featuring Bat-Bat, a hero with the powers of a bat and a penchant for corny one-liners; and numerous episodes of The Simpsons, including 1992's Mr. Plow, in which Adam West makes a couple of heavily-Bat-referencing appearances; and 1995's Radioactive Man, which gives us the "campy '70s version" of that hero. Holy stand-in! ALSO: Niall Stenson's take on Neal Hefti's Batman theme; Adam on the Mike Douglas Show; your response to our episode on It's a Bird, It's a Plane, It's Superman; and we eulogize a committed Bat-fan and regular correspondent to our show, High C. Batman Movie Themes (1966 - 2016) on Guitar Mighty Mouse The New Adventures - Night of the Bat-Bat Night of Bat-Bat - Audio Commentary by John Kricfalusi and Tom Minton

This week we delve into the world of The Odd Couple centering around the plays and the movies, some of which were made before the TV show and some of which came after.  We discuss the origins of the play and how that turned into the movie; our thoughts on the film; the updated versions of the play that Neil Simon wrote later in his career and the unnecessary film sequel. We play dialogue from the movie that was re-used in the series and the Neal Hefti theme WITH lyrics.

GGACP celebrates the 40th anniversary of one of Gilbert's favorite comedies, "Zapped!" (released July 23, 1982) with this 2019 interview featuring Grammy and Emmy winning composer Charles Fox. In this episode, Charles looks back on a six-decade career of writing top 40 hits (“Killing Me Softly with His Song,” "Ready to Take a Chance Again") as well as music and themes for TV shows (“Happy Days,” “Wonder Woman”) feature films (“Barbarella,” “9 to 5”) and game shows (“Match Game,” “What's My Line?”). Also, Charles praises Ernie Kovacs, pens a tune for Burt Reynolds, witnesses the Ed Ames tomahawk incident and remembers friends Neal Hefti, Jerry Goldsmith and Henry Mancini. PLUS: "The Green Slime"! “Love, American Style”! The Charles Fox Singers! And the boys pay loving tribute to Paul Williams! Learn more about your ad choices. Visit megaphone.fm/adchoices

First recordings led by the great tenor saxophonist Lucky Thompson n 1945-47. All done on the West Coast and featuring Karl George, J.J. Johnson, Rudy Rutherford, Freddie Green, Bill Doggett, Dodo Marmarosa, Jackie Mills, Benny Carter, Neal Hefti, Barney Kessel and others --- Support this podcast: https://anchor.fm/john-clark49/support

It's about time Stuart and Jacob talk about another comedic film on the show. Hell, it's the only way the podcast will ever be funny. And today they aren't messing around, as Jacob as brought in what is highly regarded as a classic in the comedy space, as well as it's 1998 follow-up starring both Walter Matthau and Jack Lemmon from the original! Will it compare? Or is it too infested with 90's sensibilities? Also in this episode is discussion on the Cloverfield cinematic universe, Neal Hefti's classic score, comedy duo's as a concept, and more than just a couple Matthau impressions. All this and more on They Remade It! Plot Synopsis Timestamps: 19:50-26:00 ---------- Socials ---------- @ItRemade on Twitter theyremadeit@gmail.com

Vengeance-club members! This week we discuss our favorite caped crusader, The Batted-Man! Enjoy our spoilerly takes on "The Batman," 2022 and our discussion of Batman Annual 2 (2016) by Tom King and Lee Weeks! 02:32 - Listener Feedback 08:10 - 1:06:15 - The Batman spoilers 1:06:15 - Batman - "Date Nights, Last Rites."   “The Batman,” by Michael Giacchino, “Batman Theme,” by Danny Elfman, “Batman,” by Neal Hefti, "BatDance," by Prince, "Some of These Days," & “Red Hot Mama,” by Sophie Tucker used for educational purposes only  Logo by Ross Radke https://www.rossradke.com/ opening & closing theme by https://onlybeast.com/ 

In 2001, I wrote and presented a documentary series for BBC Radio 2, “The Arrangers” produced by @elizabethclark. It featured Robert Farnon, Neal Hefti, Herb Alpert, Stan Kenton, Quincy Jones, Pete Rugolo and Mexican arranger/composer JUAN GARCIA ESQUIVEL. His daring, explosive, utterly original arrangements fueled by jazz, pop, film and loaded with instrumental effects, led to a new style in the 1960s: SPACE AGE POP or SPACE AGE BATCHELOR PAD. Here is his story told by experts, critics, and by Esquivel himself! ESQUIVEL! The King of SPACE AGE LOUNGE MUSIC! #juangarciaesquivel #richardniles #radiorichard #bbc #spaceagelounge #spaceagebachelorpad #invisibleartist #adventuresinarranging #manhamanha #bradbigelow FAIR USE DECLARATION “Copyright Disclaimer Under Section 107 of the Copyright Act 1976, allowance is made for “fair use” for purposes such as criticism, comment, news reporting, teaching, scholarship, and research. Fair use is a use permitted by copyright statute that might otherwise be infringing. Non-profit, educational, or personal use tips the balance in favor of fair use.” This YouTube channel and its videos may contain copyrighted recordings, the use of which may not always be specifically authorized by the copyright owner. In such a case, Dr. Richard Niles, an established educator, is making the material available in our efforts to educate and advance understanding of music through research and criticism. We believe this constitutes a 'fair use' of any such copyrighted material as provided for in section 107 of the US Copyright Law. All content and shows that are on this page that are copyrighted are used under the fair use rationale. Get Richard's book here! The Invisible Artist Watch this episode in video HERE Please Like, Share, and Subscribe to our YouTube channel:

Fasten your seatbelt. From the 1962 album Sinatra-Basie: An Historic First, here is Harry Warren and Al Dubin's I Only Have Eyes For You. Arranged and conducted by Neal Hefti. Credits: Theme music by Erik Blicker and Glenn Schloss Edited by Katie Cali Send comments to sinatramatters@gmail.com

Imprint Companion is the only podcast on the Australian Internet about "DVD Culture."Hang onto your slipcases because Alexei Toliopoulos (Finding Drago, Total Reboot) and Blake Howard (One Heat Minute) team up to unbox, unpack and unveil upcoming releases from Australia's brand new boutique Blu-Ray label Imprint Films. Our February Batch episode features in-depth reviews of The Return of the Pink Panther, The Bad News Bears in Breaking Training, The Out of Towners and The Odd Couple Collection.The Return of The Pink Panther (Imprint Collection #106)After he lets a robbery transpire right under his nose, the ever-bumbling Inspector Clouseau (Peter Sellers) is suspended by Chief Inspector Dreyfus (Herbert Lom). But, when the famed Pink Panther diamond is stolen from the National Museum in Lugash, the Shah requests Clouseau's assistance, and he's reinstated. Clouseau quickly concludes that the thief must be the infamous Phantom, against whom he has a grudge, but the inspector's instincts are, as usual, wrong.Special Features and Technical Specs:1080p high-definition presentationAudio Commentary with Jason Simos of The Peter Sellers Appreciation SocietyThe Return of Laughter – featuretteIsolated music and effects audio track featuring score by Henry ManciniTV SpotsTheatrical TrailersThe Bad News Bears in Breaking Training (Imprint Collection #107)THE BAD NEWS BEARS ARE ONE YEAR OLDER AND ONE YEAR WILDER.The Bad News Bears In Breaking Training is the comic and poignant second-in-the-series of adventures with the pint-sized sandlot ballplayers initiated with the smash success, The Bad News Bears. The picture picks up the Bears' career a year after their infamous second-place finish in the North Valley League. Faced with a chance to play the Houston Toros for a shot at the Japanese champs, they devise a way to get Texas to play at the famed Astrodome. On their pilgrimage to Houston, the Bears gain a new coach; dump that coach; add a new pitcher who can't get his fastball over the plate; find another coach who shows him how it's done, and go on to a come-back victory with all eyes on Japan.Special Features and Technical Specs:1080p high-definition presentation by Paramount PicturesAudio commentary by director Michael Pressman, moderated by Gillian Wallace Horvat (2022)Audio commentary by film historian Scott Harrison (2022)Theatrical TrailerThe Out Of Towners (1970) (Imprint Collection #108) George (Jack Lemmon) has been offered a promotion that would relocate him to New York City. He flies in with his wife, Gwen (Sandy Dennis), to the city for the job interview. After their flight is redirected to Boston due to heavy fog, the couple meets with disaster. Their luggage is missing, leaving them without money, and the entire city seems to be striking. George and Gwen struggle to survive the night before George's interview, questioning whether they want to move from their small town.Special Features and Technical Specs:1080p high-definition presentation by Paramount PicturesAudio commentary by film historian Lee Gambin (2022)Theatrical TrailerThe Odd Couple Collection (Imprint Collection #104 & #105)CAN TWO DIVORCED MEN SHARE AN APARTMENT WITHOUT DRIVING EACH OTHER CRAZY?A 3-disc celebration of Neil Simon's legendary play ‘The Odd Couple'.THE ODD COUPLEIn the original 1968 film starring Jack Lemmon and Walter Mathau, two divorced men decide to share an apartment. Felix Ungar is fussy and fastidious. Oscar Maddision is slovenly and sloppy. Sure, they can live together… but can they live together without killing each other?Special Features and Technical Specs:1080p high-definition transfer by Paramount PicturesAudio commentary by Charlie Matthau and Chris LemmonAudio commentary by film historians Nathaniel Thompson and Howard S. Berger (2021)In the Beginning – featuretteMatthau & Lemmon / Lemmon & Matthau – featuretteMemories from the Set – featuretteInside The Odd Couple – featuretteThe Odd Couple: A Classic – featuretteIsolated audio track featuring Neal Hefti's scoreTheatrical TrailerFilm and Production Photo GalleriesTHE ODD COUPLE IIIn the 1998 reunion film, its twenty years later, and having gone their separate ways, the two are now together again en route to the wedding of their children. They've got the map, the rental car… and a tankful of arguments.Special Features and Technical Specs:1080p high-definition transfer by Paramount PicturesAudio commentary by film historian Scott Harrison (2021)Two Grumpy Men: Directing The Odd Couple II – interview with director Howard Deutch (2021)Promotional interviews with actors Jack Lemmon, Walter Matthau, Jean Smart, writer Neil Simon and director Howard DeutchJack Lemmon, America's Everyman – 1996 documentaryWalter Matthau, Diamond in the Rough – 1997 documentaryTheatrical TrailerPhoto GalleryTHE ODD COUPLE ON TELEVISIONIn the 1970s television series, can two divorced men share an apartment without driving each other crazy? Ten episodes covering all five seasons explore this retorical quesiton. Tony Randall and Jack Klugman make the characters their own in the award-winning television version.Special Features and Technical Specs:1080p high-definition transfersAudio commentary by series executive producer Garry Marshall on “They Use Horseradish, Don't They?”Two Original Series PromosGag reel with audio introduction by producer Garry MarshallOpening titles without narrationIsolated music and effects audio track on every episodeSeries Photo GalleryBlake Howard - Twitter & One Heat Minute Website Alexei Toliopoulos - Twitter & Total RebootVisit imprintfilms.com.au Support this podcast at — https://redcircle.com/one-heat-minute-productions/exclusive-contentAdvertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

Imprint Companion is the only podcast on the Australian Internet about "DVD Culture."Hang onto your slipcases because Alexei Toliopoulos (Finding Drago, Total Reboot) and Blake Howard (One Heat Minute) team up to unbox, unpack and unveil upcoming releases from Australia's brand new boutique Blu-Ray label Imprint Films. Our February Batch episode features in-depth reviews of The Return of the Pink Panther, The Bad News Bears in Breaking Training, The Out of Towners and The Odd Couple Collection.The Return of The Pink Panther (Imprint Collection #106)After he lets a robbery transpire right under his nose, the ever-bumbling Inspector Clouseau (Peter Sellers) is suspended by Chief Inspector Dreyfus (Herbert Lom). But, when the famed Pink Panther diamond is stolen from the National Museum in Lugash, the Shah requests Clouseau's assistance, and he's reinstated. Clouseau quickly concludes that the thief must be the infamous Phantom, against whom he has a grudge, but the inspector's instincts are, as usual, wrong.Special Features and Technical Specs:1080p high-definition presentationAudio Commentary with Jason Simos of The Peter Sellers Appreciation SocietyThe Return of Laughter – featuretteIsolated music and effects audio track featuring score by Henry ManciniTV SpotsTheatrical TrailersThe Bad News Bears in Breaking Training (Imprint Collection #107)THE BAD NEWS BEARS ARE ONE YEAR OLDER AND ONE YEAR WILDER.The Bad News Bears In Breaking Training is the comic and poignant second-in-the-series of adventures with the pint-sized sandlot ballplayers initiated with the smash success, The Bad News Bears. The picture picks up the Bears' career a year after their infamous second-place finish in the North Valley League. Faced with a chance to play the Houston Toros for a shot at the Japanese champs, they devise a way to get Texas to play at the famed Astrodome. On their pilgrimage to Houston, the Bears gain a new coach; dump that coach; add a new pitcher who can't get his fastball over the plate; find another coach who shows him how it's done, and go on to a come-back victory with all eyes on Japan.Special Features and Technical Specs:1080p high-definition presentation by Paramount PicturesAudio commentary by director Michael Pressman, moderated by Gillian Wallace Horvat (2022)Audio commentary by film historian Scott Harrison (2022)Theatrical TrailerThe Out Of Towners (1970) (Imprint Collection #108) George (Jack Lemmon) has been offered a promotion that would relocate him to New York City. He flies in with his wife, Gwen (Sandy Dennis), to the city for the job interview. After their flight is redirected to Boston due to heavy fog, the couple meets with disaster. Their luggage is missing, leaving them without money, and the entire city seems to be striking. George and Gwen struggle to survive the night before George's interview, questioning whether they want to move from their small town.Special Features and Technical Specs:1080p high-definition presentation by Paramount PicturesAudio commentary by film historian Lee Gambin (2022)Theatrical TrailerThe Odd Couple Collection (Imprint Collection #104 & #105)CAN TWO DIVORCED MEN SHARE AN APARTMENT WITHOUT DRIVING EACH OTHER CRAZY?A 3-disc celebration of Neil Simon's legendary play ‘The Odd Couple'.THE ODD COUPLEIn the original 1968 film starring Jack Lemmon and Walter Mathau, two divorced men decide to share an apartment. Felix Ungar is fussy and fastidious. Oscar Maddision is slovenly and sloppy. Sure, they can live together… but can they live together without killing each other?Special Features and Technical Specs:1080p high-definition transfer by Paramount PicturesAudio commentary by Charlie Matthau and Chris LemmonAudio commentary by film historians Nathaniel Thompson and Howard S. Berger (2021)In the Beginning – featuretteMatthau & Lemmon / Lemmon & Matthau – featuretteMemories from the Set – featuretteInside The Odd Couple – featuretteThe Odd Couple: A Classic – featuretteIsolated audio track featuring Neal Hefti's scoreTheatrical TrailerFilm and Production Photo GalleriesTHE ODD COUPLE IIIn the 1998 reunion film, its twenty years later, and having gone their separate ways, the two are now together again en route to the wedding of their children. They've got the map, the rental car… and a tankful of arguments.Special Features and Technical Specs:1080p high-definition transfer by Paramount PicturesAudio commentary by film historian Scott Harrison (2021)Two Grumpy Men: Directing The Odd Couple II – interview with director Howard Deutch (2021)Promotional interviews with actors Jack Lemmon, Walter Matthau, Jean Smart, writer Neil Simon and director Howard DeutchJack Lemmon, America's Everyman – 1996 documentaryWalter Matthau, Diamond in the Rough – 1997 documentaryTheatrical TrailerPhoto GalleryTHE ODD COUPLE ON TELEVISIONIn the 1970s television series, can two divorced men share an apartment without driving each other crazy? Ten episodes covering all five seasons explore this retorical quesiton. Tony Randall and Jack Klugman make the characters their own in the award-winning television version.Special Features and Technical Specs:1080p high-definition transfersAudio commentary by series executive producer Garry Marshall on “They Use Horseradish, Don't They?”Two Original Series PromosGag reel with audio introduction by producer Garry MarshallOpening titles without narrationIsolated music and effects audio track on every episodeSeries Photo GalleryBlake Howard - Twitter & One Heat Minute Website Alexei Toliopoulos - Twitter & Total RebootVisit imprintfilms.com.au Support this podcast at — https://redcircle.com/imprint-companion/donations

Michael Hinman takes a deep dive into the music of Batman — from the original television series theme from Neal Hefti, to the iconic work of Danny Elfman, to Michael Giacchino of today. But who do you think is Michael's favorite Batman theme composer? You'll have to listen to find out, but we'll give you a hint: Her name begins with Shirley and ends with Walker. Also, when are we going to see Babylon 5 return? J. Michael Straczynski has an update. And a tribute to the late, great Sally Kellerman. 

Some days... You just can't get rid of a bomb. HOLY STARGAZING, BATMAN! It's time for the beginning of our IN THE DARK OF KNIGHT series, exploring Batman's history on film. This week, you get a rapid fire trip down memory lane, a history lesson on the origins of Batman as a character, and a brief discussion of the movie we were actually supposed to talk about! Oops! All this and more in the span of Moises' lunch break! Intro and Outro Music: "Batman Theme" by Neal Hefti & his Orchestra and Chorus Follow the show on Instagram: @stargazing_podcast Follow us on Twitter: @CremeensKellin @skkkrtt

NEAL HEFTI was one of the most original and influential composers and arrangers of the 20th Century. Beginning as arranger for Woody Herman he went on to composing and arranging for Count Basie and Frank Sinatra. He wrote for film (The Odd Couple, Barefoot In The Park, Harlow, Sex & The Single Girl) and for TV (the phenomenal success of his “Batman” theme). I wrote and hosted this show for my BBC Radio 2 series “The Arrangers” in 2001 (produced by Elizabeth Clark) and am happy to make this available for a new audience. This is killer stuff and you only get this with Radio Richard. LIKE this video! SUBSCRIBE to our social media! DONATE to our PATREON! Pretty Please!   YouTube: https://www.youtube.com/user/DRRICHARDNILES?sub_confirmation=1 Podcast: https://radiorichard.podbean.com/ Facebook: https://www.facebook.com/radiorichard2021 Twitter: https://twitter.com/radiorichard3 Patreon: https://www.patreon.com/radiorichard   “Radio Richard Theme” by Richard Niles ©2021 Niles Smiles Music sung by Free Play Duo. “The Arrangers Theme” by Richard Niles ©2001 Niles Smiles Music sung by Richard Niles All music in this program used with permission.   The Orchard Music (on behalf of Vintage Masters Inc.); Global Music Rights LLC, UMPG Publishing, PEDL, Warner Chappell, CMRRA, and 2 Music Rights Societies AdRev for Rights Holder  

Personalmente, me gustan todos los instrumentos musicales. Tanto por sus prestaciones, sus exigencias, su sonido e incluso por su imagen. Me parecen preciosos. Pero hay uno que encabeza mi lista de preferencias. Es la guitarra; española, acústica, eléctrica, de 12 o 6 cuerdas, en fin, todas. Y hoy tenemos la suerte de poder desentrañar un disco excepcional de un músico extraordinario: Joe Pass y su famoso “Appassionato”. Joe Pass nació en Nueva Jersey en 1929 y fue un músico de jazz con una técnica endiablada y con un conocimiento tremendo de las tripas de este género tan complejo. No tuvo una vida fácil, su dependencia de las drogas le complicó la vida hasta tal punto que tuvo que estar diez años retirado de la circulación para su recuperación. Esto no le impidió trabajar con gente como Frank Sinatra, Sarah Vaughan, Joe Williams, Della Reese, Johnny Mathis, en fin, con lo mejor de su época., y tampoco le impidió dejarnos grabadas joyas como el disco que hoy vamos a recordar: Appasionatto. Este disco se editó en 1991 por la prestigiosa compañía Pablo Records y para la ocasión estuvo acompañado por John Pisano, a la guitarra, Jim Hughart, al bajo y Colin Bailey a la batería. El primer corte que vamos a escuchar es, “Relaxin’ at Camarillo” una composición del saxofonista Charlie Parker que, al parecer, se inspiró en su estancia de seis meses en el Hospital Estatal de Camarillo en el Condado de Ventura, California, después de cumplir una pena de prisión por incendio y resistirse al arresto. La melodía es un blues en C mayor que se ha convertido en un estándar de jazz. “Body and Soul”, o lo que es lo mismo, “Cuerpo y alma”, es una canción clásica del repertorio melódico estadounidense, compuesta en 1930 por Johnny B. Green. La canción se hizo muy popular en la época, tanto, que en 1947 dio título a una película clásica de boxeo, que protagonizó John Garfield. La versión más reciente es la que grabaron a dúo Amy Winehouse y Tony Bennett para el disco de éste último Duets II. Fue, que se sepa, el último trabajo grabado por Winehouse. Pero nosotros escucharemos la preciosa versión instrumental que nos regala Joe Pass. El siguiente corte, “Tenderly” es una canción compuesta por Walter Groos en 1946 y que, como todas las que estamos viendo se ha convertido en un popular estándar de jazz. Versiones notables han sido grabadas por cantantes, como Sarah Vaughan y Nat King Cole,y pianistas, como Art Tatum y Bill Evans. Podemos decir que “Tenderly” disfruta, o padece, según se mire, del capricho de los artistas. Ha sido grabada en tiempo de vals por el cantante y pianista brasileño Dick Farney, en tiempo de blues por Sarah Vaughan, como música latina, ver la grabación que hizo el cubano Vicentico Valdés o como samba, según la versión del trio brasileño Surdina. La versión de Joe Pass es ésta.Joe Pass “Li’l Darlin'”, otro famoso estándar, fue compuesto en 1958 por Neal Hefti expresamente para la Count Basi Orchestra y grabado por primera vez en el álbum de 1957, The Atomic Mr. Basie. La composición, en palabras del escritor de jazz, Donald Clarke, es “una lección objetiva sobre cómo balancearse a un ritmo lento y, en algunos casos, un ejercicio de lo lento que un conjunto puede tocar sin desmoronarse”. Tenemos la tendencia a valorar más la habilidad técnica, o sea, la velocidad de un instrumentista cuando, en opinión de algunos, el tempo lento es mucho más difícil de medir y de expresar. Paco de Lucía decía que “tocar rápido lo puede hacer cualquier practicando 12 horas al día, tocar con gusto solo lo hacen unos pocos”. Así que, lo que vamos a escuchar ahora es una balada. Jos Pass. Coleman Hawkins fue un saxofonista tenor de jazz estadounidense que a pesar de que su carrera se desarrolló ligada a la música swing y a las big band, tuvo un papel muy destacado en el desarrollo de bebop en la década de 1940. Miles Davis dijo una vez: “Solo cuando escuché a Coleman, aprendí a tocar baladas”. Vamos a despedirnos de Joe Pass escuchando la versión que hace de un tema de Coleman Hawkins: “Stuffy”.

Personalmente, me gustan todos los instrumentos musicales. Tanto por sus prestaciones, sus exigencias, su sonido e incluso por su imagen. Me parecen preciosos. Pero hay uno que encabeza mi lista de preferencias. Es la guitarra; española, acústica, eléctrica, de 12 o 6 cuerdas, en fin, todas. Y hoy tenemos la suerte de poder desentrañar un disco excepcional de un músico extraordinario: Joe Pass y su famoso “Appassionato”. Jos Pass fue nació en Nueva Jersey en 1929 y fue un músico de jazz con una técnica endiablada y con un conocimiento tremendo de las tripas de este género tan complejo. No tuvo una vida fácil, su dependencia de las drogas le complicó la vida hasta tal punto que tuvo que estar diez años retirado de la circulación para su recuperación. Esto no le impidió trabajar con gente como Frank Sinatra, Sarah Vaughan, Joe Williams, Della Reese, Johnny Mathis, en fin, con lo mejor de su época., y tampoco le impidió dejarnos grabadas joyas como el disco que hoy vamos a recordar: Appasionatto. Este disco se editó en 1991 por la prestigiosa compañía Pablo Records y para la ocasión estuvo acompañado por John Pisano, a la guitarra, Jim Hughart, al bajo y Colin Bailey a la batería. El primer corte que vamos a escuchar es, "Relaxin' at Camarillo" una composición del saxofonista Charlie Parker que, al parecer, se inspiró en su estancia de seis meses en el Hospital Estatal de Camarillo en el Condado de Ventura, California, después de cumplir una pena de prisión por incendio y resistirse al arresto. La melodía es un blues en C mayor que se ha convertido en un estándar de jazz. “Body and Soul”, o lo que es lo mismo, “Cuerpo y alma”, es una canción clásica del repertorio melódico estadounidense, compuesta en 1930 por Johnny B. Green. La canción se hizo muy popular en la época, tanto, que en 1947 dio título a una película clásica de boxeo, que protagonizó John Garfield. La versión más reciente es la que grabaron a dúo Amy Winehouse y Tony Bennett para el disco de éste último Duets II. Fue, que se sepa, el último trabajo grabado por Winehouse. Pero nosotros escucharemos la preciosa versión instrumental que nos regala Joe Pass. El siguiente corte, "Tenderly" es una canción compuesta por Walter Groos en 1946 y que, como todas las que estamos viendo se ha convertido en un popular estándar de jazz. Versiones notables han sido grabadas por cantantes, como Sarah Vaughan y Nat King Cole,y pianistas, como Art Tatum y Bill Evans. Podemos decir que "Tenderly" disfruta, o padece, según se mire, del capricho de los artistas. Ha sido grabada en tiempo de vals por el cantante y pianista brasileño Dick Farney, en tiempo de blues por Sarah Vaughan, como música latina, ver la grabación que hizo el cubano Vicentico Valdés o como samba, según la versión del trio brasileño Surdina. La versión de Joe Pass es ésta. "Li'l Darlin'", otro famoso estándar, fue compuesto en 1958 por Neal Hefti expresamente para la Count Basi Orchestra y grabado por primera vez en el álbum de 1957, The Atomic Mr. Basie. La composición, en palabras del escritor de jazz, Donald Clarke, es "una lección objetiva sobre cómo balancearse a un ritmo lento y, en algunos casos, un ejercicio de lo lento que un conjunto puede tocar sin desmoronarse”. Tenemos la tendencia a valorar más la habilidad técnica, o sea, la velocidad de un instrumentista cuando, en opinión de algunos, el tempo lento es mucho más difícil de medir y de expresar. Paco de Lucía decía que “tocar rápido lo puede hacer cualquier practicando 12 horas al día, tocar con gusto solo lo hacen unos pocos”. Así que, lo que vamos a escuchar ahora es una balada. Jos Pass. Coleman Hawkins fue un saxofonista tenor de jazz estadounidense que a pesar de que su carrera se desarrolló ligada a la música swing y a las big band, tuvo un papel muy destacado en el desarrollo de bebop en la década de 1940. Miles Davis dijo una vez: "Solo cuando escuché a Coleman, aprendí a tocar baladas". Vamos a despedirnos de Joe Pass escuchando la versión que hace de un tema de Coleman Hawkins: “Stuffy”. Señoras y señores, hasta aquí hemos llegado. Joe Pass, un gran guitarrista y un hombre atormentado. Nos queda su música. Gracias a todos por vuestra atención y quedamos emplazados para la semana que viene en la que tendremos más música, más músicas y más historias. Hasta entonces… ¡¡¡Buenas vibraciones!!!

Met ditmaal: Ghost Funk Orchestra, The Cribs, Working Men’s Club, Global Charming, Nick Waterhouse, The Pogues, Danny Vera, King Gizzard & The Lizard Wizard, The Chills, Chris Stapleton, Neal Hefti, The Mountain Goats, plus een exclusieve instore van The Grand East. Concerto Radio, aflevering 362 (20 november 2020): Ghost Funk Orchestra, Drop Me A Line:...

At last, it's here--after having put it off for so long, Nick tactically engages with the Zack Snyder opus "Batman v Superman: Dawn of Justice" (2016). Lewis and special guest Cooper of the Machinic Unconscious Happy Hour podcast, veterans of the Batman v Superman institution, induct Nick into this unholy order of a movie that isn't actually that bad. Remove Eisenberg Luthor and Doomsday in the final act, and you have a halfway-decent superhero flick! Something more substantial than 90% of the MCU, at any rate. Cooper's Links: https://soundcloud.com/podcast-co-coopercherry https://www.patreon.com/muhh https://twitter.com/unconscioushh Our Patreon: www.patreon.com/pro_con Music- "when the struggle itself becomes identified with a series of defeats" by 红山郡 (hongshanjun.bandcamp.com/album/-) "Batman Theme" by Neal Hefti

When the big band era went bust, Count Basie held on longer than most - not disbanding until late 1949, at which point he tried out several combos playing a mix of swing, bebop and R&B before finally settling on this Octet with arrangements by Neal Hefti and others. Featuring among others Clark Terry, either Buddy De Franco or Marshall Royal on clarinet, Wardell Gray on tenor, either Serge Chaloff or Rudy Rutherford on bari sax, Basie, Freddie Green and Buddy Rich! --- Support this podcast: https://anchor.fm/john-clark49/support

Sketch, Paul and Duelist discuss the Batman animated films Batman: Year One and The Dark Knight Returns Part 1. Music Credits: - Batman Theme by Danny Elfman - 1966 Batman Theme by Neal Hefti

Episode eighty-eight of A History of Rock Music in Five Hundred Songs looks at "Cathy's Clown" by The Everly Brothers, and at how after signing the biggest contract in music business history their career was sabotaged by their manager. Click the full post to read liner notes, links to more information, and a transcript of the episode.   Patreon backers also have a ten-minute bonus episode available, on "Poetry in Motion" by Johnny Tillotson.  ----more----   Resources As always, I've created a Mixcloud streaming playlist with full versions of all the songs in the episode. There are no first-rate biographies of the Everly Brothers in print, at least in English (apparently there's a decent one in French, but I don't speak French well enough for that). Ike's Boys by Phyllis Karp is the only full-length bio,  and I relied on that in the absence of anything else, but it's been out of print for nearly thirty years, and is not worth the exorbitant price it goes for second-hand. The Everlypedia is a series of PDFs containing articles on anything related to the Everly Brothers, in alphabetical order. This collection has all the Everlys' recordings up to the end of 1962.  I would also recommend this recently-released box set containing expanded versions of their three last studio albums for Warners, including Roots, which I discuss in the episode. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them?   Transcript   This week we're going to look at the Everly Brothers' first and biggest hit of the sixties, a song that established them as hit songwriters in their own right, which was more personal than anything they'd released earlier, and which was a big enough hit that it saved what was to become a major record label. We're going to look at "Cathy's Clown": [Excerpt: The Everly Brothers, "Cathy's Clown"] When we left the Everly Brothers, six months ago, we had seen them have their first chart hits and record the classic album Songs Our Daddy Taught Us, an album that prefigured by several years the later sixties folk music revival, and which is better than much of the music that came out of that later scene. Both artistically and commercially, they were as successful as any artists of the early rock era. But Don Everly, in particular, wanted them to have more artistic control themselves -- and if they could move to a bigger label as well, that was all the better. But as it happens, they didn't move to a bigger label, just a richer one. Warner Brothers Records had started in 1958, and had largely started because of changes in the film industry. In the late 1940s and early fifties, the film industry was being hit on all sides. Anti-trust legislation meant that the film studios had to get rid of the cinema chains they owned, losing a massive revenue stream (and also losing the opportunity to ensure that their films got shown no matter how poor their reputation). A series of lawsuits from actors had largely destroyed the star system on which the major studios relied, and then television became a huge factor in the entertainment industry, cutting further into the film studios' profits. An aside about that -- one of the big reasons for the growth of television as America's dominant entertainment medium is racism. In the thirties and forties, there had been huge waves of black people moving from rural areas to the cities in search of work, and we've looked at that and the way that led to the creation of rhythm and blues in many of the previous episodes. After World War II there was a corresponding period of white flight, where white people moved en masse away from the big cities and into small towns and suburbs, to get away from black people. This is largely what led to America's car culture and general lack of public transport, because low-population-density areas aren't as easy to serve with reliable public transport. And in the same way it's also uneconomical to run mass entertainment venues like theatres and cinemas in low-population-density areas, and going to the cinema becomes much less enticing if you have to drive twenty miles to get to one, rather than walking down the street. So white flight had essentially meant the start of a process by which entertainment in America moved from the public sphere to the private one. This is also a big reason for the boom in record sales in the middle decades of last century -- records are private entertainment, as opposed to going out to a dance or a show. And this left the big film studios in dire straits. But while they were down on their luck when it came to films, Warners were doing very well in the music publishing business, where unlike their ownership of cinemas they didn't have to get rid of their properties. Warners had always owned the songs used in their films, and indeed one of the reasons that Looney Tunes and Merrie Melodies existed in the first place was so that they could plug songs that Warners owned. When Tex Avery has Owl Jolson singing "I Love to Singa": [Excerpt: “Owl Jolson”, "I Love to Singa"] That's a song that had originally appeared in a Warners feature film a few months earlier, sung by Al Jolson and Cab Calloway: [Excerpt: Al Jolson and Cab Calloway, "I Love to Singa"] So Warners were making money from the music industry. But then they realised something. Tab Hunter, one of their film stars under contract to them, had started to have hit records. His record "Young Love" spent six weeks at number one: [Excerpt: Tab Hunter, "Young Love"] And whenever he was interviewed to promote a film, all the interviewers would ask about was his music career. That was bad enough -- after all, he wasn't signed to Warners as a singer, he was meant to be a film star -- but what was worse was that the label Hunter was on, Dot Records, was owned by a rival film studio, Paramount. Warners would go to all the trouble of getting an interview set up for their star, and then all it would do was put money into Paramount's pocket! They needed to get into the record business themselves, as a way to exploit their song catalogue if nothing else. At first they thought about just buying Imperial Records, but when that deal fell through they started their own label, and signed Hunter to it right at the point that his career nosedived. In the first two years that Warner Brothers Records existed, they only had two hit singles -- "Kookie Kookie Lend Me Your Comb", a record based on the Warner-owned TV series 77 Sunset Strip and co-performed by one of that series' stars, Edd Byrnes: [Excerpt: Edd Byrnes and Connie Stevens, "Kookie Kookie Lend Me Your Comb"] And another record by Connie Stevens, who also sang on "Kookie Kookie Lend Me Your Comb", and was the star of a different Warners TV series, Hawaiian Eye: [Excerpt: Connie Stevens, "Sixteen Reasons"] Everything else they released flopped badly. After two years they had lost three million dollars, and would have closed down the label altogether, except the label was owed another two million, and they didn't want to write that off. The main reason for these losses was that the label was mostly releasing stuff aimed at the easy listening adult album market, records by people like Henry Mancini, and at the time the singles market was where the money was, and the singles market was dominated by young people. They needed some records that would appeal to young people. They decided that they needed the Everly Brothers. At the beginning of 1960, the duo had released ten singles since May 1957, of which nine had charted, as had four of the B-sides. They'd topped the pop charts twice, the R&B charts twice, and the country charts four times. At a time when even the biggest stars would occasionally release the odd flop, they were as close to a guaranteed hit-making machine as existed in the music industry. And they were looking to get away from Cadence Records, for reasons that have never been made completely clear. It's usually said that they had artistic differences with Cadence, but at the same time they always credited Archie Bleyer from Cadence with being the perfect arranger for them -- he arranged their final Cadence single, "Let it Be Me": [Excerpt: The Everly Brothers, "Let it Be Me"] But for whatever reason, the Everlys *were* looking to find a new label, and Warner Brothers were desperate enough that they signed them up to the biggest contract ever signed in music business history up to that point. Remember that four years earlier, when Elvis had signed with RCA records, they'd paid a one-off fee of forty thousand dollars and *that* was reportedly the largest advance ever paid in the industry up until that point. Now, the Everlys were signing to Warners on a ten-year contract, with a guaranteed advance of one hundred thousand dollars a year for those ten years -- the first million-dollar contract in music history. They were set up until 1970, and were sure to provide Warners with a string of hits that would last out the decade -- or so it seemed at first. Their first recording for the label had an unusual melodic inspiration. Ferde Grofé was an arranger and orchestrator for Paul Whiteman's jazz band in the 1920s and thirties. He's particularly known these days for having been the original arranger of Gershwin's "Rhapsody in Blue" -- Gershwin had written it for two pianos, and it was Grofé who had come up with the instrumental colouring that these days we think of as being so important to that piece: [Excerpt: Paul Whiteman "Rhapsody in Blue (original 1924 recording)"] Grofé had written a piece in 1931 called the "Grand Canyon Suite", and its third movement, "On the Trail" had become the most popular piece of music he ever wrote. Disney made an Oscar-winning short with the suite as its soundtrack in 1958, and you can still hear "On the Trail" to this day in the Grand Canyon section of the Disneyland Railroad. But "On the Trail" was best known as the music that Phillip Morris used in their radio and TV commercials from the thirties through to the sixties. Here's a bit from the original Whiteman recording of the piece: [Excerpt: Paul Whiteman, "Grand Canyon Suite: On the Trail"] Don took that melodic inspiration, and combined it with two sources of lyrical inspiration -- when his dad had been a child, he'd had a crush on a girl named Mary, who hadn't been interested, and his schoolfriends had taunted him by singing "Mary had a little Ike" at him. The other key to the song came when Don started thinking about an old crush of his own, a girl from his school called Catherine Coe -- though in later years he was at pains to point out that the song wasn't actually about her. They took the resulting song into the studio with the normal members of the Nashville A-Team, and it became only their second hit single with an A-side written by one of the brothers, reaching number one on both the pop and R&B charts: [Excerpt: The Everly Brothers, "Cathy's Clown"] I say it's written by Don -- the original issue of the record credited the songwriting to both Don and Phil, but Phil signed an agreement in 1980 relinquishing his claim to the song, and his name was taken off all future copies. It sounds to me like Don's writing style, and all the anecdotes about its writing talk about him without mentioning any input from Phil, so I'm assuming for these purposes that it's a Don solo composition. Listening to the record, which was the first that the duo produced for themselves, as well as being their first for Warners, you can hear why Don was at times dissatisfied with the songs that Felice and Boudleaux Bryant had written for the brothers. It's a sophisticated piece of work in a number of different ways. For a start, there's the way the music mirrors the lyric on the first line. That line is about separation -- "Don't want your love any more" -- and the brothers start the line in unison, but Don's voice slowly drops relative to Phil's, so by the end of the line they're a third apart. It's like he's stepping away: [Excerpt: The Everly Brothers, "Cathy's Clown"] The song's structure also seems unusual. Wikipedia says it has a chorus and a bridge but no verse, while the Library of Congress disagrees and says it has a verse and a bridge but no chorus. Personally, I'd say that it definitely does have a chorus -- the repeated section with the same words and melody each time it's repeated, with both brothers singing, and with the title of the song at the end, seems as definitively a chorus as one could possibly ask for: [Excerpt: The Everly Brothers, "Cathy's Clown"] If that's not a chorus, I'm honestly not sure what is. The reason this comes into question is the other section. I would call that section a verse, and I think most people would, and the song's structure is a straightforward A-B-A-B repetition which one would normally call verse/chorus. But it's such a change of pace that it feels like the contrasting section that normally comes with a bridge or middle eight. Indeed the first time I properly learned what a middle eight was -- in a column in Mojo magazine in the mid-nineties called Doctor Rock which explained some basic musicology -- it was specifically cited as an example of one: [Excerpt: The Everly Brothers, "Cathy's Clown"] Part of the reason that seems so different is that Don's singing it solo, while the brothers are duetting on the choruses, and normally Don's solo lines would be on a bridge or middle eight. Not always, but often enough that that's what you expect if you've listened to a few of their records. But there's also a change in rhythm. One of the things you'll notice as we go further into the sixties is that, for a while in the early sixties, the groove in rock and roll -- and also in soul -- moved away from the swinging, shuffling rhythm you get in most of the fifties music we've looked at into a far more straightforward four-four rhythm. In roughly 1961 through 64 or so, you have things like the bam-bam-bam-bam four-on-the-floor beat of early Motown or Four Seasons records, or the chugga-chugga-chugga rhythm of surf guitar, rather than the looser, triplet-based grooves that you'd get in the fifties. And you can hear in "Cathy's Clown" the shift in those rhythms happening in the song itself. The verses have an almost Latin feel, with lots of loose cymbal work from Buddy Harman: [Excerpt: The Everly Brothers, "Cathy's Clown"] While the choruses have an almost martial feel to them, a boom-BAP rhythm, and sound like they have two drummers on them: [Excerpt: The Everly Brothers, "Cathy's Clown"] While I say that sounds like there are two drummers, it's still just Harman playing. The difference is that here the engineer, Bill Porter, who was the engineer on a lot of the Nashville recordings we've looked at, notably the Roy Orbison ones, had just obtained a new device -- a tape loop. Now, I've seen some people misunderstand what it was that Porter did with this -- thinking he looped the drums in the way one would loop things today, just playing the same recording over and over. It wasn't that. Rather it was a way of doing what Sam Phillips had been doing with tape echo in Sun a few years earlier -- there would be an endlessly circulating loop of tape, which had both record and playback heads. The drums would be recorded normally, but would also be recorded onto that tape loop, and then when it played back a few milliseconds later it would sound like a second drummer playing along with the first. It's an almost inaudible delay, but it's enough to give a totally different sound to the drums. Porter would physically switch this loop on and off while recording the track live -- all the vocals and instruments were recorded live together, onto a three-track tape, and he would turn it on for the choruses and off for the verses. This is an early example of the kind of studio experimentation that would define the way records were made in the sixties. The rhythm that Harman played was also very influential -- you can hear that it strongly influenced Paul McCartney if you listen to Beatles records like "What You're Doing", "Ticket to Ride", and "Tomorrow Never Knows", all of which have drum patterns which were suggested by McCartney, and all of which are strongly reminiscent of the "Cathy's Clown" chorus. "Cathy's Clown" topped the charts for five weeks, and sold two million copies. It was an immense success, and the Everlys seemed to be on top of the world. But it was precisely then that problems started for the duo. First, they moved from Nashville to LA. The main reason for that was that as well as being a record contract, their new contract with Warners would give them the opportunity to appear in films, too. So they spent six months taking acting lessons and doing screen tests, before concluding that neither of them could actually act or remember their lines, and wisely decided that they were going to stick to music. The one good thing they took from that six month period was that they rekindled their friendship with the Crickets, and Sonny Curtis wrote them a song called "Walk Right Back", which made the top ten (and number one in the UK and New Zealand): [Excerpt: The Everly Brothers, "Walk Right Back"] Curtis wrote that song while he was in basic training for the military, and when he got a pass for a few days he'd only written the first verse. He played the song to the brothers while he was out on his pass, and they said they liked it. He told them he'd write a second verse and send it to them, but by the time they received his letter with the lyrics for the second verse, they'd already recorded the song, just repeating the first verse. Curtis wasn't the only one who had to go into basic military training. The brothers, too, knew they would be drafted sooner rather than later, and so they decided to do as several other acts we've discussed did, and sign up voluntarily for six months rather than be drafted for two years. Before they did so, they recorded another song, "Temptation", an old standard from the thirties: [Excerpt: The Everly Brothers, "Temptation"] And that track marked the beginning of the end of the Everlys as a chart act. Because it was an old standard, the publishing was not owned by Acuff-Rose, and Wesley Rose was furious. He was both their manager and the owner of Acuff-Rose, the biggest publishing company in country music, and things between them had already become strained when the Everlys had moved to California while Rose had stayed in Nashville. Rose insisted that they only release Acuff-Rose songs as singles, and they refused, saying they wanted to put the single out. Rose retaliated in the most staggeringly petty manner imaginable. He stopped managing them, and he blocked them from being sent any new songs by Felice and Boudleaux Bryant. Because he knew they'd already recorded "Love Hurts", a song written by the Bryants, as an album track, he got Roy Orbison, who he also managed, to record a version and put it out as a B-side, as a spoiler in case the Everlys tried to release their version as a single: [Excerpt: Roy Orbison, "Love Hurts"] Worse than that, even, the Everlys were also signed to Acuff-Rose as songwriters, which meant that they were no longer allowed to record their own songs. For a while they tried writing under pseudonyms, but then Acuff-Rose found out about that and stopped them. For a while, even after basically taking a year away from music and being banned from recording their own songs, the brothers continued having hits. They also started another project -- their own record label, Calliope, which would put out their outside projects. For Don, this was a mostly-instrumental adaptation of Elgar's "Pomp and Circumstance", which he recorded with an arrangement by Neal Hefti, under the name "Adrian Kimberly": [Excerpt: Adrian Kimberly, "Pomp and Circumstance"] That made the lower reaches of the US charts, but was banned by the BBC in Britain, because it would offend British patriotic sentiment (for those who don't know, "Pomp and Circumstance", under the name "Land of Hope and Glory", is something of a second national anthem over here). Phil's side project was a comedy folk group, the Keestone Family Singers, who recorded a parody of the Kingston Trio's "Raspberries, Strawberries", written by Glen Hardin of the Crickets: [Excerpt: The Keestone Family Singers, "Cornbread and Chitlings"] The other two singers on that track were people we're going to hear a lot from in later episodes -- a songwriter called Carole King, who a few months later would co-write the Everlys hit "Crying in the Rain", and a session guitarist named Glen Campbell. But neither of these ventures were particularly successful, and they concentrated on their own records. For a while, they continued having hits. But having no access to the Bryants' songs, and being unable to record the songs they were writing themselves, they relied more and more on cover versions, right at the point the market was starting to change to being based entirely around artists who wrote their own material. And on top of that, there were personal problems -- Don was going through a divorce, and before they were inducted into the Marines, both Don and Phil had started seeing a doctor who gave them what they were told were "vitamin shots" to help them keep their energy up, but were actually amphetamines. Both became addicted, and while Phil managed to kick his addiction quickly, Don became incapacitated by his, collapsing on a UK tour and being hospitalised with what was reported as "food poisoning", as most overdoses by rock musicians were in the early sixties, leaving Phil to perform on his own while Don recuperated. Their fall in popularity after "Temptation" was precipitous. Between 1957 and early 1961 they had consistently had massive hits. After "Temptation" they had three more top thirty hits, "Don't Blame Me", "Crying in the Rain", and "That's Old Fashioned". They continued having regular hits in the UK through 1965, but after "That's Old Fashioned" in early 1962 their US chart positions went seventy-six, forty-eight, a hundred and seven, a hundred and one, didn't chart at all, a hundred and thirty-three... you get the idea. They only had two more top forty hits in the US in the rest of their career -- "Gone Gone Gone" in 1964, which made number thirty-one, and "Bowling Green" in 1967 which made number forty. Eventually they got the ability to record their own material again, and also to record songs by the Bryants, but the enforced period of several years of relying on cover versions and old standards had left them dead as a commercial act. But surprisingly, they weren't artistically dead. They did have a slump around the time of Don's troubles, with a series of weak albums, but by 1965 they'd started making some very strong tracks, covering a stylistic range from soul to country to baroque pop to an entire album, Two Yanks in England, of covers of British songs, backed by the Hollies (who wrote eight of the twelve songs) and a young keyboard player named Reg Dwight, who would later change his name to Elton John: [Excerpt: The Everly Brothers, "Somebody Help Me"] In the middle of this commercial slump came their second album-length masterpiece, "Roots", an album that, like their earlier "Songs Our Daddy Taught Us", looked back to the music they'd grown up on., while also looking forward to the future, mixing new songs by contemporary writers like Merle Haggard and Randy Newman with older folk and country songs: [Excerpt: The Everly Brothers, "Illinois"] It stands with the great marriages of Americana, orchestral pop, and psychedelia from around that time, like Randy Newman's first album and Van Dyke Parks' Song Cycle, and has many of the same people involved, including producer Lenny Waronker and keyboard player Van Dyke Parks. It's conceived as a complete piece, with songs fading in and out to excerpts of the Everlys' performances on the radio with their parents as children, and it's quite, quite, lovely. And, like those other albums, it was a complete commercial flop. The brothers continued working together for several more years, recording a live album to finish off their ten-year Warners contract, and then switching to RCA, where they recorded a couple of albums of rootsy country-rock in the style of artists they had influenced like Crosby, Stills, Nash and Young. But nothing happened for them commercially, and they were getting less and less happy with working together. The two men argued about literally everything, from who was their father's real favourite to politics -- Phil was an intensely conservative Republican while Don is a liberal Democrat. They ended up travelling separately on tour and staying in separate hotels. It all came to a head in early 1973, when Don announced that their shows at Knotts Berry Farm would be their last, as he was tired of being an Everly brother. For the first of the two shows they were booked for, Don turned up drunk. After a few songs, Phil walked off stage, smashing his guitar. For the second show, Don turned up alone, and when someone in the crowd shouted "Where's Phil?" He replied "The Everly Brothers died ten years ago". Both of them had attempts at solo careers for a decade, during which time the only time they saw each other was reportedly at their father's funeral. They both had minor points of success -- an appearance on a film soundtrack here, a backing vocal on a hit record there -- but no chart success, until in 1983 Phil had a UK top ten hit with a duet with Cliff Richard, "She Means Nothing to Me": [Excerpt: Phil Everly and Cliff Richard, "She Means Nothing to Me"] But by this point, the brothers had reconciled, at least to an extent. They would never be close, but they'd regained enough of a relationship to work together, and they came together for a reunion show at the Royal Albert Hall, with a great band led by the country guitarist Albert Lee. That show was followed by a new album, produced by Dave Edmunds and featuring a lead-off single written for the brothers by Paul McCartney, "On the Wings of a Nightingale": [Excerpt: The Everly Brothers, "On the Wings of a Nightingale"] Over the next twenty-two years, the brothers would record a couple more studio albums, and would frequently guest on records by other people, including performing backing vocals on Paul Simon's "Graceland", from his massively successful album of the same name: [Excerpt: Paul Simon, "Graceland"] It was also Simon who enticed them into what turned out to be their final reunion, in 2004, after a period of a few years where once again the brothers hadn't worked together. Simon had a similarly rocky relationship with his own duet partner Art Garfunkel, and when Simon and Garfunkel did their first tour together in over twenty years, they invited the Everly Brothers to tour with them as guests, doing a short slot by themselves and joining Simon and Garfunkel to perform "Bye Bye Love" together: [Excerpt: The Everly Brothers and Simon & Garfunkel, "Bye Bye Love"] The year after that, they did what was to be their final tour, and I was lucky enough to see one of those shows myself. More than fifty years after they started performing together, they still sounded astonishing, and while they were apparently once again not on speaking terms offstage, you would never have known it from their effortless blend on stage, the kind of close harmony that you can only get when you know someone else's voice as well as your own. After that tour, Phil Everly's health put an end to the Everly Brothers -- he died in 2014 from COPD, a lung disease brought on by his smoking, and for many years before that he had to use an oxygen tank at all times. That wasn't an end to Everly infighting though -- the most recent court date in the ongoing lawsuit between Phil's estate and Don over the credit for "Cathy's Clown" was only last month. But even though their relationship was fraught, they were still brothers, and Don has talked movingly of how he speaks every day to the portion of Phil's ashes that he has in his house. The bonds that held them together were the same things that drove them apart, but Don knows that no matter how much longer he lives, he will always be one of the Everly Brothers.

Episode eighty-eight of A History of Rock Music in Five Hundred Songs looks at “Cathy’s Clown” by The Everly Brothers, and at how after signing the biggest contract in music business history their career was sabotaged by their manager. Click the full post to read liner notes, links to more information, and a transcript of the episode.   Patreon backers also have a ten-minute bonus episode available, on “Poetry in Motion” by Johnny Tillotson.  —-more—-   Resources As always, I’ve created a Mixcloud streaming playlist with full versions of all the songs in the episode. There are no first-rate biographies of the Everly Brothers in print, at least in English (apparently there’s a decent one in French, but I don’t speak French well enough for that). Ike’s Boys by Phyllis Karp is the only full-length bio,  and I relied on that in the absence of anything else, but it’s been out of print for nearly thirty years, and is not worth the exorbitant price it goes for second-hand. The Everlypedia is a series of PDFs containing articles on anything related to the Everly Brothers, in alphabetical order. This collection has all the Everlys’ recordings up to the end of 1962.  I would also recommend this recently-released box set containing expanded versions of their three last studio albums for Warners, including Roots, which I discuss in the episode. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them?   Transcript   This week we’re going to look at the Everly Brothers’ first and biggest hit of the sixties, a song that established them as hit songwriters in their own right, which was more personal than anything they’d released earlier, and which was a big enough hit that it saved what was to become a major record label. We’re going to look at “Cathy’s Clown”: [Excerpt: The Everly Brothers, “Cathy’s Clown”] When we left the Everly Brothers, six months ago, we had seen them have their first chart hits and record the classic album Songs Our Daddy Taught Us, an album that prefigured by several years the later sixties folk music revival, and which is better than much of the music that came out of that later scene. Both artistically and commercially, they were as successful as any artists of the early rock era. But Don Everly, in particular, wanted them to have more artistic control themselves — and if they could move to a bigger label as well, that was all the better. But as it happens, they didn’t move to a bigger label, just a richer one. Warner Brothers Records had started in 1958, and had largely started because of changes in the film industry. In the late 1940s and early fifties, the film industry was being hit on all sides. Anti-trust legislation meant that the film studios had to get rid of the cinema chains they owned, losing a massive revenue stream (and also losing the opportunity to ensure that their films got shown no matter how poor their reputation). A series of lawsuits from actors had largely destroyed the star system on which the major studios relied, and then television became a huge factor in the entertainment industry, cutting further into the film studios’ profits. An aside about that — one of the big reasons for the growth of television as America’s dominant entertainment medium is racism. In the thirties and forties, there had been huge waves of black people moving from rural areas to the cities in search of work, and we’ve looked at that and the way that led to the creation of rhythm and blues in many of the previous episodes. After World War II there was a corresponding period of white flight, where white people moved en masse away from the big cities and into small towns and suburbs, to get away from black people. This is largely what led to America’s car culture and general lack of public transport, because low-population-density areas aren’t as easy to serve with reliable public transport. And in the same way it’s also uneconomical to run mass entertainment venues like theatres and cinemas in low-population-density areas, and going to the cinema becomes much less enticing if you have to drive twenty miles to get to one, rather than walking down the street. So white flight had essentially meant the start of a process by which entertainment in America moved from the public sphere to the private one. This is also a big reason for the boom in record sales in the middle decades of last century — records are private entertainment, as opposed to going out to a dance or a show. And this left the big film studios in dire straits. But while they were down on their luck when it came to films, Warners were doing very well in the music publishing business, where unlike their ownership of cinemas they didn’t have to get rid of their properties. Warners had always owned the songs used in their films, and indeed one of the reasons that Looney Tunes and Merrie Melodies existed in the first place was so that they could plug songs that Warners owned. When Tex Avery has Owl Jolson singing “I Love to Singa”: [Excerpt: “Owl Jolson”, “I Love to Singa”] That’s a song that had originally appeared in a Warners feature film a few months earlier, sung by Al Jolson and Cab Calloway: [Excerpt: Al Jolson and Cab Calloway, “I Love to Singa”] So Warners were making money from the music industry. But then they realised something. Tab Hunter, one of their film stars under contract to them, had started to have hit records. His record “Young Love” spent six weeks at number one: [Excerpt: Tab Hunter, “Young Love”] And whenever he was interviewed to promote a film, all the interviewers would ask about was his music career. That was bad enough — after all, he wasn’t signed to Warners as a singer, he was meant to be a film star — but what was worse was that the label Hunter was on, Dot Records, was owned by a rival film studio, Paramount. Warners would go to all the trouble of getting an interview set up for their star, and then all it would do was put money into Paramount’s pocket! They needed to get into the record business themselves, as a way to exploit their song catalogue if nothing else. At first they thought about just buying Imperial Records, but when that deal fell through they started their own label, and signed Hunter to it right at the point that his career nosedived. In the first two years that Warner Brothers Records existed, they only had two hit singles — “Kookie Kookie Lend Me Your Comb”, a record based on the Warner-owned TV series 77 Sunset Strip and co-performed by one of that series’ stars, Edd Byrnes: [Excerpt: Edd Byrnes and Connie Stevens, “Kookie Kookie Lend Me Your Comb”] And another record by Connie Stevens, who also sang on “Kookie Kookie Lend Me Your Comb”, and was the star of a different Warners TV series, Hawaiian Eye: [Excerpt: Connie Stevens, “Sixteen Reasons”] Everything else they released flopped badly. After two years they had lost three million dollars, and would have closed down the label altogether, except the label was owed another two million, and they didn’t want to write that off. The main reason for these losses was that the label was mostly releasing stuff aimed at the easy listening adult album market, records by people like Henry Mancini, and at the time the singles market was where the money was, and the singles market was dominated by young people. They needed some records that would appeal to young people. They decided that they needed the Everly Brothers. At the beginning of 1960, the duo had released ten singles since May 1957, of which nine had charted, as had four of the B-sides. They’d topped the pop charts twice, the R&B charts twice, and the country charts four times. At a time when even the biggest stars would occasionally release the odd flop, they were as close to a guaranteed hit-making machine as existed in the music industry. And they were looking to get away from Cadence Records, for reasons that have never been made completely clear. It’s usually said that they had artistic differences with Cadence, but at the same time they always credited Archie Bleyer from Cadence with being the perfect arranger for them — he arranged their final Cadence single, “Let it Be Me”: [Excerpt: The Everly Brothers, “Let it Be Me”] But for whatever reason, the Everlys *were* looking to find a new label, and Warner Brothers were desperate enough that they signed them up to the biggest contract ever signed in music business history up to that point. Remember that four years earlier, when Elvis had signed with RCA records, they’d paid a one-off fee of forty thousand dollars and *that* was reportedly the largest advance ever paid in the industry up until that point. Now, the Everlys were signing to Warners on a ten-year contract, with a guaranteed advance of one hundred thousand dollars a year for those ten years — the first million-dollar contract in music history. They were set up until 1970, and were sure to provide Warners with a string of hits that would last out the decade — or so it seemed at first. Their first recording for the label had an unusual melodic inspiration. Ferde Grofé was an arranger and orchestrator for Paul Whiteman’s jazz band in the 1920s and thirties. He’s particularly known these days for having been the original arranger of Gershwin’s “Rhapsody in Blue” — Gershwin had written it for two pianos, and it was Grofé who had come up with the instrumental colouring that these days we think of as being so important to that piece: [Excerpt: Paul Whiteman “Rhapsody in Blue (original 1924 recording)”] Grofé had written a piece in 1931 called the “Grand Canyon Suite”, and its third movement, “On the Trail” had become the most popular piece of music he ever wrote. Disney made an Oscar-winning short with the suite as its soundtrack in 1958, and you can still hear “On the Trail” to this day in the Grand Canyon section of the Disneyland Railroad. But “On the Trail” was best known as the music that Phillip Morris used in their radio and TV commercials from the thirties through to the sixties. Here’s a bit from the original Whiteman recording of the piece: [Excerpt: Paul Whiteman, “Grand Canyon Suite: On the Trail”] Don took that melodic inspiration, and combined it with two sources of lyrical inspiration — when his dad had been a child, he’d had a crush on a girl named Mary, who hadn’t been interested, and his schoolfriends had taunted him by singing “Mary had a little Ike” at him. The other key to the song came when Don started thinking about an old crush of his own, a girl from his school called Catherine Coe — though in later years he was at pains to point out that the song wasn’t actually about her. They took the resulting song into the studio with the normal members of the Nashville A-Team, and it became only their second hit single with an A-side written by one of the brothers, reaching number one on both the pop and R&B charts: [Excerpt: The Everly Brothers, “Cathy’s Clown”] I say it’s written by Don — the original issue of the record credited the songwriting to both Don and Phil, but Phil signed an agreement in 1980 relinquishing his claim to the song, and his name was taken off all future copies. It sounds to me like Don’s writing style, and all the anecdotes about its writing talk about him without mentioning any input from Phil, so I’m assuming for these purposes that it’s a Don solo composition. Listening to the record, which was the first that the duo produced for themselves, as well as being their first for Warners, you can hear why Don was at times dissatisfied with the songs that Felice and Boudleaux Bryant had written for the brothers. It’s a sophisticated piece of work in a number of different ways. For a start, there’s the way the music mirrors the lyric on the first line. That line is about separation — “Don’t want your love any more” — and the brothers start the line in unison, but Don’s voice slowly drops relative to Phil’s, so by the end of the line they’re a third apart. It’s like he’s stepping away: [Excerpt: The Everly Brothers, “Cathy’s Clown”] The song’s structure also seems unusual. Wikipedia says it has a chorus and a bridge but no verse, while the Library of Congress disagrees and says it has a verse and a bridge but no chorus. Personally, I’d say that it definitely does have a chorus — the repeated section with the same words and melody each time it’s repeated, with both brothers singing, and with the title of the song at the end, seems as definitively a chorus as one could possibly ask for: [Excerpt: The Everly Brothers, “Cathy’s Clown”] If that’s not a chorus, I’m honestly not sure what is. The reason this comes into question is the other section. I would call that section a verse, and I think most people would, and the song’s structure is a straightforward A-B-A-B repetition which one would normally call verse/chorus. But it’s such a change of pace that it feels like the contrasting section that normally comes with a bridge or middle eight. Indeed the first time I properly learned what a middle eight was — in a column in Mojo magazine in the mid-nineties called Doctor Rock which explained some basic musicology — it was specifically cited as an example of one: [Excerpt: The Everly Brothers, “Cathy’s Clown”] Part of the reason that seems so different is that Don’s singing it solo, while the brothers are duetting on the choruses, and normally Don’s solo lines would be on a bridge or middle eight. Not always, but often enough that that’s what you expect if you’ve listened to a few of their records. But there’s also a change in rhythm. One of the things you’ll notice as we go further into the sixties is that, for a while in the early sixties, the groove in rock and roll — and also in soul — moved away from the swinging, shuffling rhythm you get in most of the fifties music we’ve looked at into a far more straightforward four-four rhythm. In roughly 1961 through 64 or so, you have things like the bam-bam-bam-bam four-on-the-floor beat of early Motown or Four Seasons records, or the chugga-chugga-chugga rhythm of surf guitar, rather than the looser, triplet-based grooves that you’d get in the fifties. And you can hear in “Cathy’s Clown” the shift in those rhythms happening in the song itself. The verses have an almost Latin feel, with lots of loose cymbal work from Buddy Harman: [Excerpt: The Everly Brothers, “Cathy’s Clown”] While the choruses have an almost martial feel to them, a boom-BAP rhythm, and sound like they have two drummers on them: [Excerpt: The Everly Brothers, “Cathy’s Clown”] While I say that sounds like there are two drummers, it’s still just Harman playing. The difference is that here the engineer, Bill Porter, who was the engineer on a lot of the Nashville recordings we’ve looked at, notably the Roy Orbison ones, had just obtained a new device — a tape loop. Now, I’ve seen some people misunderstand what it was that Porter did with this — thinking he looped the drums in the way one would loop things today, just playing the same recording over and over. It wasn’t that. Rather it was a way of doing what Sam Phillips had been doing with tape echo in Sun a few years earlier — there would be an endlessly circulating loop of tape, which had both record and playback heads. The drums would be recorded normally, but would also be recorded onto that tape loop, and then when it played back a few milliseconds later it would sound like a second drummer playing along with the first. It’s an almost inaudible delay, but it’s enough to give a totally different sound to the drums. Porter would physically switch this loop on and off while recording the track live — all the vocals and instruments were recorded live together, onto a three-track tape, and he would turn it on for the choruses and off for the verses. This is an early example of the kind of studio experimentation that would define the way records were made in the sixties. The rhythm that Harman played was also very influential — you can hear that it strongly influenced Paul McCartney if you listen to Beatles records like “What You’re Doing”, “Ticket to Ride”, and “Tomorrow Never Knows”, all of which have drum patterns which were suggested by McCartney, and all of which are strongly reminiscent of the “Cathy’s Clown” chorus. “Cathy’s Clown” topped the charts for five weeks, and sold two million copies. It was an immense success, and the Everlys seemed to be on top of the world. But it was precisely then that problems started for the duo. First, they moved from Nashville to LA. The main reason for that was that as well as being a record contract, their new contract with Warners would give them the opportunity to appear in films, too. So they spent six months taking acting lessons and doing screen tests, before concluding that neither of them could actually act or remember their lines, and wisely decided that they were going to stick to music. The one good thing they took from that six month period was that they rekindled their friendship with the Crickets, and Sonny Curtis wrote them a song called “Walk Right Back”, which made the top ten (and number one in the UK and New Zealand): [Excerpt: The Everly Brothers, “Walk Right Back”] Curtis wrote that song while he was in basic training for the military, and when he got a pass for a few days he’d only written the first verse. He played the song to the brothers while he was out on his pass, and they said they liked it. He told them he’d write a second verse and send it to them, but by the time they received his letter with the lyrics for the second verse, they’d already recorded the song, just repeating the first verse. Curtis wasn’t the only one who had to go into basic military training. The brothers, too, knew they would be drafted sooner rather than later, and so they decided to do as several other acts we’ve discussed did, and sign up voluntarily for six months rather than be drafted for two years. Before they did so, they recorded another song, “Temptation”, an old standard from the thirties: [Excerpt: The Everly Brothers, “Temptation”] And that track marked the beginning of the end of the Everlys as a chart act. Because it was an old standard, the publishing was not owned by Acuff-Rose, and Wesley Rose was furious. He was both their manager and the owner of Acuff-Rose, the biggest publishing company in country music, and things between them had already become strained when the Everlys had moved to California while Rose had stayed in Nashville. Rose insisted that they only release Acuff-Rose songs as singles, and they refused, saying they wanted to put the single out. Rose retaliated in the most staggeringly petty manner imaginable. He stopped managing them, and he blocked them from being sent any new songs by Felice and Boudleaux Bryant. Because he knew they’d already recorded “Love Hurts”, a song written by the Bryants, as an album track, he got Roy Orbison, who he also managed, to record a version and put it out as a B-side, as a spoiler in case the Everlys tried to release their version as a single: [Excerpt: Roy Orbison, “Love Hurts”] Worse than that, even, the Everlys were also signed to Acuff-Rose as songwriters, which meant that they were no longer allowed to record their own songs. For a while they tried writing under pseudonyms, but then Acuff-Rose found out about that and stopped them. For a while, even after basically taking a year away from music and being banned from recording their own songs, the brothers continued having hits. They also started another project — their own record label, Calliope, which would put out their outside projects. For Don, this was a mostly-instrumental adaptation of Elgar’s “Pomp and Circumstance”, which he recorded with an arrangement by Neal Hefti, under the name “Adrian Kimberly”: [Excerpt: Adrian Kimberly, “Pomp and Circumstance”] That made the lower reaches of the US charts, but was banned by the BBC in Britain, because it would offend British patriotic sentiment (for those who don’t know, “Pomp and Circumstance”, under the name “Land of Hope and Glory”, is something of a second national anthem over here). Phil’s side project was a comedy folk group, the Keestone Family Singers, who recorded a parody of the Kingston Trio’s “Raspberries, Strawberries”, written by Glen Hardin of the Crickets: [Excerpt: The Keestone Family Singers, “Cornbread and Chitlings”] The other two singers on that track were people we’re going to hear a lot from in later episodes — a songwriter called Carole King, who a few months later would co-write the Everlys hit “Crying in the Rain”, and a session guitarist named Glen Campbell. But neither of these ventures were particularly successful, and they concentrated on their own records. For a while, they continued having hits. But having no access to the Bryants’ songs, and being unable to record the songs they were writing themselves, they relied more and more on cover versions, right at the point the market was starting to change to being based entirely around artists who wrote their own material. And on top of that, there were personal problems — Don was going through a divorce, and before they were inducted into the Marines, both Don and Phil had started seeing a doctor who gave them what they were told were “vitamin shots” to help them keep their energy up, but were actually amphetamines. Both became addicted, and while Phil managed to kick his addiction quickly, Don became incapacitated by his, collapsing on a UK tour and being hospitalised with what was reported as “food poisoning”, as most overdoses by rock musicians were in the early sixties, leaving Phil to perform on his own while Don recuperated. Their fall in popularity after “Temptation” was precipitous. Between 1957 and early 1961 they had consistently had massive hits. After “Temptation” they had three more top thirty hits, “Don’t Blame Me”, “Crying in the Rain”, and “That’s Old Fashioned”. They continued having regular hits in the UK through 1965, but after “That’s Old Fashioned” in early 1962 their US chart positions went seventy-six, forty-eight, a hundred and seven, a hundred and one, didn’t chart at all, a hundred and thirty-three… you get the idea. They only had two more top forty hits in the US in the rest of their career — “Gone Gone Gone” in 1964, which made number thirty-one, and “Bowling Green” in 1967 which made number forty. Eventually they got the ability to record their own material again, and also to record songs by the Bryants, but the enforced period of several years of relying on cover versions and old standards had left them dead as a commercial act. But surprisingly, they weren’t artistically dead. They did have a slump around the time of Don’s troubles, with a series of weak albums, but by 1965 they’d started making some very strong tracks, covering a stylistic range from soul to country to baroque pop to an entire album, Two Yanks in England, of covers of British songs, backed by the Hollies (who wrote eight of the twelve songs) and a young keyboard player named Reg Dwight, who would later change his name to Elton John: [Excerpt: The Everly Brothers, “Somebody Help Me”] In the middle of this commercial slump came their second album-length masterpiece, “Roots”, an album that, like their earlier “Songs Our Daddy Taught Us”, looked back to the music they’d grown up on., while also looking forward to the future, mixing new songs by contemporary writers like Merle Haggard and Randy Newman with older folk and country songs: [Excerpt: The Everly Brothers, “Illinois”] It stands with the great marriages of Americana, orchestral pop, and psychedelia from around that time, like Randy Newman’s first album and Van Dyke Parks’ Song Cycle, and has many of the same people involved, including producer Lenny Waronker and keyboard player Van Dyke Parks. It’s conceived as a complete piece, with songs fading in and out to excerpts of the Everlys’ performances on the radio with their parents as children, and it’s quite, quite, lovely. And, like those other albums, it was a complete commercial flop. The brothers continued working together for several more years, recording a live album to finish off their ten-year Warners contract, and then switching to RCA, where they recorded a couple of albums of rootsy country-rock in the style of artists they had influenced like Crosby, Stills, Nash and Young. But nothing happened for them commercially, and they were getting less and less happy with working together. The two men argued about literally everything, from who was their father’s real favourite to politics — Phil was an intensely conservative Republican while Don is a liberal Democrat. They ended up travelling separately on tour and staying in separate hotels. It all came to a head in early 1973, when Don announced that their shows at Knotts Berry Farm would be their last, as he was tired of being an Everly brother. For the first of the two shows they were booked for, Don turned up drunk. After a few songs, Phil walked off stage, smashing his guitar. For the second show, Don turned up alone, and when someone in the crowd shouted “Where’s Phil?” He replied “The Everly Brothers died ten years ago”. Both of them had attempts at solo careers for a decade, during which time the only time they saw each other was reportedly at their father’s funeral. They both had minor points of success — an appearance on a film soundtrack here, a backing vocal on a hit record there — but no chart success, until in 1983 Phil had a UK top ten hit with a duet with Cliff Richard, “She Means Nothing to Me”: [Excerpt: Phil Everly and Cliff Richard, “She Means Nothing to Me”] But by this point, the brothers had reconciled, at least to an extent. They would never be close, but they’d regained enough of a relationship to work together, and they came together for a reunion show at the Royal Albert Hall, with a great band led by the country guitarist Albert Lee. That show was followed by a new album, produced by Dave Edmunds and featuring a lead-off single written for the brothers by Paul McCartney, “On the Wings of a Nightingale”: [Excerpt: The Everly Brothers, “On the Wings of a Nightingale”] Over the next twenty-two years, the brothers would record a couple more studio albums, and would frequently guest on records by other people, including performing backing vocals on Paul Simon’s “Graceland”, from his massively successful album of the same name: [Excerpt: Paul Simon, “Graceland”] It was also Simon who enticed them into what turned out to be their final reunion, in 2004, after a period of a few years where once again the brothers hadn’t worked together. Simon had a similarly rocky relationship with his own duet partner Art Garfunkel, and when Simon and Garfunkel did their first tour together in over twenty years, they invited the Everly Brothers to tour with them as guests, doing a short slot by themselves and joining Simon and Garfunkel to perform “Bye Bye Love” together: [Excerpt: The Everly Brothers and Simon & Garfunkel, “Bye Bye Love”] The year after that, they did what was to be their final tour, and I was lucky enough to see one of those shows myself. More than fifty years after they started performing together, they still sounded astonishing, and while they were apparently once again not on speaking terms offstage, you would never have known it from their effortless blend on stage, the kind of close harmony that you can only get when you know someone else’s voice as well as your own. After that tour, Phil Everly’s health put an end to the Everly Brothers — he died in 2014 from COPD, a lung disease brought on by his smoking, and for many years before that he had to use an oxygen tank at all times. That wasn’t an end to Everly infighting though — the most recent court date in the ongoing lawsuit between Phil’s estate and Don over the credit for “Cathy’s Clown” was only last month. But even though their relationship was fraught, they were still brothers, and Don has talked movingly of how he speaks every day to the portion of Phil’s ashes that he has in his house. The bonds that held them together were the same things that drove them apart, but Don knows that no matter how much longer he lives, he will always be one of the Everly Brothers.

For more information regarding COVID-19 and available health services in Canada, call 1-833-784-4397 or visit canada.ca/coronavirus.  Special thanks to Zencastr who made it possible for us to record this episode while practicing physical distancing in separate locations. Atomic batteries to power, turbines to speed! This week we travel way back to 1966 for a look back on one of the most iconic interpretations of a superhero ever, the Batman TV series. What made this series so popular when it aired? How did this show impact the legacy of Batman as a character? Why is it still remembered so fondly more than 50 years later? Music and audio from "Batman (1966)" is the property of Neal Hefti, Nelson Riddle, Willaim Dozier, Howie Horwitz, Greenway Productions, 20th Century Television, and Warner Bros. Domestic Television Distribution. Music and audio from "The Big Bang Theory" is the property of Kristy Cecil, Anthony Del Brocollo, Robinson Greene, Chuck Lorre Productions and Warner Bros. Television. Music and audio from "Batman: The Animated Series" is the property of Danny Elfman, Shirley Walker, Bruce Timm, Eric Radomski, Alan Burnett, DC Entertainment and Warner Bros. Animation. Music and audio from "Supergirl (2015)" is the property of Blake Neeley, Nathaniel Blume, Marc Guggenheim, Greg Berlanti, Robert Rovner, Jessica Queller, Berlanti Productions, DC Entertainment, and Warner Bros. Television. Click here to check out Ben The Movie Buff's YouTube channel. The intro and outro music was created by Cackles and Jeremy Eckert. We thank them for their generous support of this podcast. Check out our Facebook page at www.facebook.com/batjarpodcast. Invite your friends to like our page! You can contact us at @thebatcookiejar on Twitter or you can send an e-mail to batjarpodcast@gmail.com.

VJC Q&T podcast producer (and Critics Anonymous podcast co-host) Caleb Kilian has know Valley Jazz Cooperative Director Russell Schmidt for more than a decade. And for the past five years, they have worked together as colleagues at Music Serving the Word Ministries, where Caleb serves as Media Manager and Russ is Coordinator of Education.At the start of the Arizona Music Educators Association’s 2020 Conference, and with concert band and jazz ensemble competition season imminent for music educators all over the country, Russ sat down with Caleb to record a unique Questions and Tangents podcast, one in which the usual host was the interviewee, not the interviewer. Their wide-ranging dialogue encompassed such subjects as the intersection of objectivity and subjectivity in education, how a mentor teacher continues to impact his life thirty years after his passing, and even why musicians “playing in parallel” might not be as good a thing as it sounds.Learn more about Caleb Kilian and Russell Schmidt here:https://musicservingtheword.org/artist_ministersFind the Critics Anonymous podcast (co-hosted by Caleb Kilian and Robert Garza) here:https://podcasts.apple.com/us/podcast/critics-anonymous/id1480289208Learn more about some of the individuals mentioned in the podcast here:Count Basie – https://en.wikipedia.org/wiki/Count_BasieMichael Brecker – https://en.wikipedia.org/wiki/Michael_BreckerGabe Condon – https://www.gabecondon.com/Duke Ellington – https://en.wikipedia.org/wiki/Duke_EllingtonMaynard Ferguson – https://en.wikipedia.org/wiki/Maynard_FergusonPaul Ferguson – http://paulfergusonmusic.com/Herbie Hancock – https://www.herbiehancock.com/Neal Hefti ­– https://en.wikipedia.org/wiki/Neal_HeftiWoody Herman – https://en.wikipedia.org/wiki/Woody_HermanJohn Hollenbeck – https://johnhollenbeck.com/Vijay Iyer – https://vijay-iyer.com/Thad Jones – https://en.wikipedia.org/wiki/Thad_JonesStan Kenton –https://en.wikipedia.org/wiki/Stan_KentonJoel McNeely – https://en.wikipedia.org/wiki/Joel_McNeelyMatt Mitchell – http://www.mattmitchell.us/Sammy Nestico – https://en.wikipedia.org/wiki/Sammy_NesticoBud Powell – https://en.wikipedia.org/wiki/Bud_PowellBuddy Rich – https://en.wikipedia.org/wiki/Buddy_RichMaria Schneider – https://www.mariaschneider.com/Wayne Shorter – https://en.wikipedia.org/wiki/Wayne_ShorterBilly Strayhorn – https://en.wikipedia.org/wiki/Billy_StrayhornArt Tatum – https://en.wikipedia.org/wiki/Art_TatumAlexa Tarantino – https://alexatarantino.com/Rayburn Wright – https://en.wikipedia.org/wiki/Rayburn_WrightThanks for listening!PLEASE SUBSCRIBE & RATE THIS EPISODE!Website: https://www.valleyjazz.org/Social Media (Facebook): https://www.facebook.com/ValleyJazzCooperative/About The Interviewee: Pianist/composer/educator Russell Schmidt has performed with such celebrated artists as Carl Allen, Michael Brecker, Eddie Daniels, Joe Lovano, Gerry Mulligan, Lucas Pino, Arturo Sandoval, and Clark Terry. Among his recordings as a leader are Anachromysticism (2012), which highlights Russell’s wide-ranging efforts as a jazz composer, Jazz Triptych, Volume I – The Sacred (2018), a collection of hymns and spirituals reimagined in the jazz language, and his most recent recording, the companion album Jazz Triptych, Volume II – The Secular (2019).After a distinguished career in academia, Russell joined Music Serving The Word in June 2014 as Coordinator of Education, founding MSW’s Valley Jazz Cooperative program in 2016. Previously, he served as Director of Jazz Studies at Bowling Green State University and the University of Utah. He was also a member of the Eastman School of Music jazz faculty, where he co-conducted the Eastman Studio Orchestra. A student of Rayburn Wright, Russell holds two degrees from Eastman.Find music from VJC Q&T host Russell Schmidt here: https://www.youtube.com/channel/UCuao1b7Ztc7JNpUTzyorXDQ?The Questions & Tangents podcast is produced by Caleb Kilian for the Valley Jazz Cooperative, an outreach of MSW Ministries, a 501(c)(3) organization.

Salut à tous, Dans le cadre de ce mois Batman au sein du label Audioactif, je reçois Spades pour parler de la musique dans les séries et les films qui mettent en lumière le héros masqué... Quelques anecdotes, des petits extraits des morceaux qu'on a aimé et qui ont gravité autour de cet univers. Au programme : 1960 : - Batman Theme de Neal Hefti  - Joker's wild des Ventures 1980 : - Batman Theme de Danny Elfman - Batdance de Prince 1990 : - One time too many de PJ Harvey - Tell me now de Mazzy Star - The end is the beginning is the end des Smashing Pumpkins 2000 : - A dark knight de Hans Zimmer Morceau de clôture : Hold me, thrill me, kiss me, kill me de U2  Retrouvez Spades sur le label Audioactif dans Comicsphere et Decennies. Twitter : @mdam_pod Générique : "It was 3am I was looking up at the sky" by Springtide (www.springtide.jp)

In the 2nd edition of the "Geeksplained Spotlight", we're taking an in-depth look at Batman: The Long Halloween! And to tackle this iconic story, we called in some help. Join host Aeric Azana and special guest Andrew Kincaid in this deep dive on one of the greatest Batman tales of all time. Plus, our Weekly Review on The Boys, this weeks Comics Countdown, and more! Connect w/ us! IG & Twitter - @GeeksplainedPod Email - Geeksplained@gmail.com Music Sampled: "Sayonara" by SAKEROCK "Batman Theme (1966)" by Neal Hefti "Wannabe" by The Spice Girls "Temptation Pt. 2" by Andrew Hale

Primera entrega de un ejercicio de seriefilia, melomanía y nostalgia, a través de nuestras sintonías televisivas favoritas, desde los inicios de la tv hasta 1990. Únete a nosotros en Telegram: t.me/marcianosenuntren Modera: Jose Ceballos Participan: Carlos Arbelo y Álvaro Blanco Edición y Música: Jose Ceballos Temas de: Charles Gounod, Joey Scarbury, Lalo Schiffrin, Jan Hammer, Irving Szathmary, Leslie Charteris, Marius Constant, Bernard Herrmann, Ron Grainer y Delia Derbyshire, Neal Hefti, Clannad, Alexander Courage, Jack Jones, Allyn Ferguson & Jack Elliott, Jay Livingston & Ray Evans, Stu Phillips, Mike Post, John Addison, Waldo de los Ríos, Ángelo Badalamenti y Julee Cruise.

Gilbert and Frank welcome one of their favorite composers, Grammy and Emmy winner Charles Fox, who looks back on a six-decade career of writing top 40 hits ("Killing Me Softly with His Song") as well as music and themes for TV shows ("Happy Days," "Wonder Woman") feature films ("Barbarella," "9 to 5") and game shows ("Match Game," "What's My Line?"). Also, Charles teams with Barry Manilow, pens a tune for Burt Reynolds, witnesses the Ed Ames tomahawk incident and remembers friends Neal Hefti, Jerry Goldsmith and Henry Mancini. PLUS: "Love, American Style"! The Charles Fox Singers! The inventiveness of Ernie Kovacs! Gilbert sings the soundtrack from "Zapped!" And the boys pay loving tribute to Paul Williams! Learn more about your ad choices. Visit megaphone.fm/adchoices

Es uno de los superheróes más famosos y queridos del mundo, y este año acaba de cumplir sus ocho décadas. Así, MaGnUs y Peter se adentran en la baticueva y revuelven en los archivos. ¿Cuándo y donde apareció por primera vez la baticueva? ¿El batimovil? ¿Alfred? ¿De dónde salen el dinosaurio, la moneda, y la carta gigante de la cueva? ¿Cuándo apareció por primera vez el origen con los Wayne asesinados? Todo esto, y mucho más. Además, una crónica detallada de la visita de Adam West a Uruguay en 1968, con el Profesor Dinosaurio. Agradecimiento especial a Graciela Guffanti de la Biblioteca Nacional, por el material hemerotéquico. Con música de Depeche Mode, Meat Loaf, y Neal Hefti & his Orchestra and Chorus. Próximo programa: Avengers - Endgame.

ep nr 120 Mission Impossible vs Batman....1966: Lalo Schifrin vs Neal Hefti, i compositori delle celebri serie televisive “Mission Impossible” e “Batman”. Limp Bizkit, Shy Fx remixano il main theme di Lalo Schifrin, il b side è “Jim on the move” campionato dai The Wiseguys. Slynk e Dreadsquad sono solo alcuni dei produttori che mashuppano “Oh La La” , infine arriva il reef irresistibile di “Batman” da: Neal Hefti a Prince, da Eminem a 50 Cents….

ep nr 120 Mission Impossible vs Batman....1966: Lalo Schifrin vs Neal Hefti, i compositori delle celebri serie televisive “Mission Impossible” e “Batman”. Limp Bizkit, Shy Fx remixano il main theme di Lalo Schifrin, il b side è “Jim on the move” campionato dai The Wiseguys. Slynk e Dreadsquad sono solo alcuni dei produttori che mashuppano “Oh La La” , infine arriva il reef irresistibile di “Batman” da: Neal Hefti a Prince, da Eminem a 50 Cents….

ep nr 120 Mission Impossible vs Batman....1966: Lalo Schifrin vs Neal Hefti, i compositori delle celebri serie televisive “Mission Impossible” e “Batman”. Limp Bizkit, Shy Fx remixano il main theme di Lalo Schifrin, il b side è “Jim on the move” campionato dai The Wiseguys. Slynk e Dreadsquad sono solo alcuni dei produttori che mashuppano “Oh La La” , infine arriva il reef irresistibile di “Batman” da: Neal Hefti a Prince, da Eminem a 50 Cents….

Il y a 60 ans, à la fin du mois de Février 1958, une pile de cartons est livrée au 3 Rue Roquépine, près de la Gare Saint Lazare, dans le 8ème arrondissement de Paris. Dans les cartons ce jour-là ? Des dizaines d'exemplaires de la dernière sortie Roulette, un jeune label américain. Le disque ? Une véritable bombe ! Car ce qui saute immédiatement aux yeux, en effet, c'est la photo en couverture… Un champignon atomique ! Au bas de la pochette, en petits caractères, on peut lire : “E=MC2… Count Basie Orchestra + Neal Hefti Arrangements”, soit l'orchestre de Count Basie et les arrangements de Neal Hefti. Véritable déflagration de swing, ce disque culte est désormais connu sous le titre définitif de : "The Atomic Mr. Basie". Attention, c'est explosif ! Etagère 4… boîte 2… Dossier WBB1958… Le Swing Atomique de Count BasieHébergé par Ausha. Visitez ausha.co/politique-de-confidentialite pour plus d'informations.

The Basie Band of the 1950s was sometimes called "The Atomic Band" as one of their hit records had a photo of an atomic bomb blast on it. It was recorded in 1957 and called "Basie Plays Hefti" (Count Basie plays the arrangements of Neal Hefti). This album heard tonight is basically the same band with a few minor personnel changes. It was recorded on May 31,1959 during a one-nighter at the Americana Hotel in Miami, Florida for the Disc Jockey Convention. The band played to a packed house and dance floor starting at 2am and went on until breakfast time, hence the title. The personnel was full pf Basie regulars. The two Franks, Wess (tenor and flute) and Foster (tenor) plus the great Billy Mitchell also on tenor saxophone.. Trumpets: Thad Jones, Joe Newman, Wendell Culley and Snooky Young. Trombones were Al Grey, Henry Coker and Benny Powell, The rhythm section beginning with Basie at the piano, Freddie Green on guitar, Eddie Jones on bass and the amazing Sonny Payne on drums. A great inspired performance by the Basie crew and well recorded to boot. Basie basics tonight!

In this episode, SPJ finally returns to review Batman: Return of the Caped Crusaders on a new Semi-Plot. Pouch admits he'd give up Batman for a certain celebrity crush.  Pouch here. After many attempts to bring back SPJ, he finally returns. After a brief hiatus, he's ready to fellate the mic once more. Intro/outro: Neal Hefti and Kristopher Carter - Classic Batman Main Title Get a Load of This Man Gets Trapped Behind a Fucking ATM Women Somehow had 27 Fucking Contact Lenses in her Eye Shit We Mentioned For more details on the topics discussed on this episode, please visit the Dropping Loads official website  

"¿En qué pensás cuando te hablo del Olympia de París?" le pregunta Héctor a Bobby. Y hay mil respuestas posibles. Todas hablan de la consagración de un artista, francés o no, en Europa. En marzo del 62 fue el turno de Count Basie, y Larrea trae ese registro con Why Not, de Neal Hefti. Bobby nos cuenta que Bob Marley debe haber sido el músico popular del tercer mundo reconocido globalmente. Así le abrió la puerta a varios artistas jamaiquinos, entre ellos Dandy Livingstone, que pasó a la posteridad con su éxito A Message to You, Rudy. Además, Fito Páez, Ciriaco Ortiz, Stevie Wonder y Waldo de los Ríos.

Con profunda tristeza, tuvimos que cambiar el tema del programa de esta semana, y traerles un TITANES dedicado a Adam West. Todos lo recordaremos siempre como Batman, pero en este episodio, MaGnUs y el Profesor Dinosaurio intentan reflejar todos los aspectos de su vida. Vivió siempre a la sombra de su gran éxito, casi que condenado a repetirse y autopariodiarse, así que la idea es recordarlo en su totalidad, como Batman y como persona. Con música de Neal Hefti, y The Village People. Próximo programa: Nuestra nueva sección, Bardo En El Éter. En esta primera entrega, Daniel Calegari y el significado de la vida y el universo.

This week: Uma Thurman does the Batusi! Adam teams with the Three Stooges! The genius of Neal Hefti! And the unsung brilliance of "Lookwell." Learn more about your ad choices. Visit megaphone.fm/adchoices

Chris and Cindy FINALLY return to Opal City for another installment of their Starman Chronicles series! This time it's Starman #20-23, the “Sand and Stars” arc guest-starring the Golden Age Sandman! Plus, FW All-Star Ryan Daly fills us in on “The Mist” storyline from Sandman Mystery Theatre # 37-40, which features Ted Knight and the origins of The Mist! We finish up with YOUR listener feedback! Download via iTunes. This podcast is a proud member of the FIRE AND WATER PODCAST NETWORK Visit our WEBSITE: http://fireandwaterpodcast.com/ Follow us on TWITTER - https://twitter.com/FWPodcasts & https://twitter.com/supermatespod Like our FACEBOOK page - https://www.facebook.com/FWPodcastNetwork Like our FACEBOOK page - https://www.facebook.com/supermatespodcast Use our HASHTAG online: #FWPodcasts Email us at supermatespodcast@gmail.com Clip credits: “Wedding March” from Flash Gordon by Queen Selected tracks from The Flash (1990) TV series soundtrack by Danny Elfman and Shirley Walker Selected tracks from The Rocketeer soundtrack by James Horner Selected tracks from Batman: Return of the Caped Crusaders soundtrack by Neal Hefti, Michael McQuiston, Lolita Ritmanis and Chris Karter “Mister Sandman” by the Chordettes “Enter Sandman” by Metallica “In Dreams” and “Sweet Dreams Baby” by Roy Orbison "Sweet Dreams (Are Made of This)" by Eurythmics “Mister Sandman” by Chet Atkins

It's episode 66, so Chris & Cindy celebrate all things Batman '66! They discuss the recent animated sequel Batman: Return of the Caped Crusaders, starring the voices of Adam West, Burt Ward & Julie Newmar! Spoilers ahead! They review the new coffee-table book, Batman: A Celebration of the Classic Television Series, and they wrap things up with a Bat-quiz you can play along with at home! Subscribe via iTunes. This podcast is a proud member of the FIRE AND WATER PODCAST NETWORK Visit our WEBSITE: http://fireandwaterpodcast.com/ Follow us on TWITTER - https://twitter.com/FWPodcasts & https://twitter.com/supermatespod Like our FACEBOOK page - https://www.facebook.com/FWPodcastNetwork Like our FACEBOOK page - https://www.facebook.com/supermatespodcast Use our HASHTAG online: #FWPodcasts Email us at supermatespodcast@gmail.com Clip credits: Audio clips from Batman: Return of the Caped Crusaders directed by Rick Morales. Music by Neal Hefti, Michael McQuiston, Lolita Ritmanis and Chris Karter Audio clips from Batman TV Series. Music by Neal Hefti and Nelson Riddle. Special thanks to Andrew Leyland for the audio assist!

Episode 78 is now online and transmitting from Batman's totally illegal Moon Base! Join our heroes Stan, Andy, and Chris as we geek out at the grand return of Batman 66 in animated form & curse the heavens for Metal Gear Survive, witness the amazingness that is "Kubo and the Two Strings", discover why Lois Lane is clearly the most badass mom to have ever lived, discuss why Dick Grayson (and the Bat-Family, really) needs to stop and try to re-evaluate their lives, and gasp in aw at Stan's amazing pitch for a Batman / The Warriors crossover movie! You can find our podcast on iTunes, Soundcloud, Google Play and Stitcher! https://itunes.apple.com/us/podcast/super-nerd-pals/id957518932?mt=2 https://soundcloud.com/supernerdpals https://goo.gl/app/playmusic?ibi=com.google.PlayMusic&isi=691797987&ius=googleplaymusic&link=https://play.google.com/music/m/Ihoznbclg7ez2mqpqrz6knfsfu4?t%3DSuper_Nerd_Pals http://www.stitcher.com/podcast/super-nerd-pals Here is our RSS Feed for you to upload to your podcast player of choice - http://feeds.soundcloud.com/users/soundcloud:users:128938125/sounds.rss Please like, rate, share, subscribe, and tell your friends about us! And feel to comment and reach out to us. We love talking to our Super Pals of Nerding! And as always, you can find us on our flagship channels for Super Nerd Pals! Website: https://supernerdpals.com/ Facebook: https://www.facebook.com/groups/SuperNerdPals/ Twitter: @SuperNerdPals - https://twitter.com/supernerdpals ; @AnimeIsWeird - https://twitter.com/animeisweird ; @FanimeshonDesu - https://twitter.com/fanimeshondesu Instagram: https://www.instagram.com/supernerdpals/ Tumblr: http://supernerdpals.tumblr.com/ Youtube: https://www.youtube.com/channel/UCpkEkUQwSwMBX74ruvbzR9w You can find us individually on Twitter at: Stan - @StanDoom ; https://twitter.com/standoom Andy - @SweetJusticeOne ; https://twitter.com/sweetjusticeone Chris - @KyoNinjaForHire ; https://twitter.com/KyoNinjaForHire Thanks Pals of Super Nerding, and enjoy! ++++ "Batman '66 Theme Song (Album Version)" song credits belong to Silva Screen Records. Composed by Neal Hefti from the Album: The Music of Batman & performed by the London Music Work's Orchestra in 2009. Kubo sound and audio clips belong to Laika. Copyright Disclaimer Under Section 107 of the Copyright Act 1976, allowance is made for "fair use" for purposes such as criticism, comment, news reporting, teaching, scholarship, and research. Fair use is a use permitted by copyright statute that might otherwise be infringing. Non-profit, educational or personal use tips the balance in favor of fair use.

As we continue through the series, we notice more and more awesomeness in the Nelson Riddle incidental music- and we also have some questions about it. Pat Evans is working on getting answers to those questions as he does a series of interviews for his documentary film “The Beat of the Bat”! We discuss how Riddle’s scoring for the show is more like that of a Warner Brothers cartoon than most live-action shows; how Riddle and Neal Hefti both recycled bits of past music into “new” music that’s more familiar to us; Billy May’s cringey lyrics to the Batgirl theme; and the burning question: should Hefti’s iconic Batman theme be sung as “Nana nana” or “Dada dada”? And in the Bat Mailbag, a collage of ‘60s Sears-catalog Bat-crap! (Click image to zoom in) (Collages by Aaron Lange)

Matthew Sweet with film music inspired by the cinematic portrayal of Batman and Superman in the week in which the movies pit one comic strip hero against the other in Zack Snyder's "Batman v. Superman: Dawn of Justice". Matthew considers the background and origin of both cartoon superheroes and features some of the earliest Batman/Superman screen music - written by composers such as Sammy Timberg, Leon Klatzkin, Lee Zahler and Mischa Bakaleinikoff. And of course there are also the more familiar scores as well, from Neal Hefti, Danny Elfman, Shirley Walker, Elliot Goldenthal and Hans Zimmer. The Classic Score of the Week is John Williams's iconic music for "Superman - The Movie".

From their small, separate start on the silver screen in the 1940s to joining forces for one of the most anticipated epics hitting theaters in 2016, Batman and Superman have woven in and out of cinematic history for over 70 years. Leaving in their wake a plethora of film posters, the Poster Boys look back through the key art that defined each cinematic interpretation of two massive cultural icons and use their highs and lows to examine the constantly changing trends within the industry. SHOW NOTES & LINKS The Dissolve: How the 1989 Batman logo helped set the course for superhero movies, by Noel Murray Music selections: “Bass on Titles” opening theme; Batman TV serial opening theme by Lee Zahler, Batman TV theme by Neal Hefti, Superman original soundtrack by John Williams, Batman original soundtrack by Danny Elfman, The Dark Knight Rises original soundtrack by Hans Zimmer, Man of Steel original soundtrack by Hans Zimmer. Follow Brandon Schaefer at @seekandspeak, and Sam Smith at @samsmyth. Special thanks to producer Adrian Cobb and to our presenting partner, AIGA's Eye on Design blog.

Each week, comedian Gilbert Gottfried and comedy writer Frank Santopadre share their appreciation of lesser-known films, underrated TV shows and hopelessly obscure character actors -- discussing, dissecting and (occasionally) defending their handpicked guilty pleasures and buried treasures. This week: Jack Lemmon's dark impulses! The TV (and movie) themes of Neal Hefti! And Lee Marvin tangles with the mob! If you've got a car and a license, put 'em both to work for you and start earning serious, life-changing money today. Sign up to drive with Uber. Visit http://www.DriveWithUber.com Learn more about your ad choices. Visit megaphone.fm/adchoices

whenever we cast our podson the net, on our ownwhenever we say our wordswishing they would be heardwe saw you smiling at us threetalking about final fantasyso click the play button in the cornerof this tiny little barIt is a glorious day, a day of celebration, of reflection, of escape. The Mappers sit together, Final Fantasy VIII behind them, fading away, knowing that they are free. They had been on a journey together, a journey through time and love and a needlessly labyrinthine battle system. And now, here on the other side, they know that they’ve forged in fire a part of themselves that they shall never lose.But that is not all that today is. Today shall go down in history, remembered by all for at least the next week and a half. For today is… The Day The Batman Died.You can get our podcast on iTunes, on Stitcher, or you can download it directly by clicking here.July’s Game Club: Her StoryGames Discussed: Metal Gear Solid: The Twin Snakes, Metal Gear Solid 2 HD, NiER, Neko Atsume, Tamagotchi, Final Fantasy VIII, Austin’s Article on FF8 fan theories, Final Fantasy VII Remake, Persona 4 and 3, Batman: Arkham KnightMusic This EpisodeBlown Away by Kevin MacLeodFisherman’s Horizon by Nobuo UematsuThe Oath byNobuo UematsuMaybe I’m a Lion byNobuo UematsuEyes on Me byNobuo UematsuBatman Theme by Neal Hefti

Chris and Cindy visit their bookshelf of the past, and pull out some of their favorite children's books featuring the World's Greatest Super Heroes! First up is 1966's Batman and Robin: From Alfred To Zowie! Learn the alphabet with the Dynamic Duo, as Chris recites the pulse-pounding text by Ruthanna Thomas, and describes the art by comics veteran Tom Gill! You can practically hear the Neal Hefti theme! Oh wait…you can! Then it's off to The Super Dictionary from 1978. This strange DC Comics experiment has some very…interesting illustrations and text used to define some rather innocuous words. You have to see it (or hear about it!) to believe it. We wrap things up with two beautiful Marvel Books from 1984, each written by David Anthony Kraft, with gorgeous art by Marie Severin and Earl Norem; The Amazing Spider-Man: The Big Top Mystery and Fantastic Four: The Island of Danger! Download via iTunes. Be sure to let us know what you think! Let your voice be heard! We'd love to read it aloud in an upcoming episode. Drop us a line in our comments section, or email us at supermatespodcast@gmail.com. If you're listening on iTunes, please consider leaving a review of our show! We're also on Facebook! Chris (aka Earth 2 Chris) co-hosts the Power Records Podcast with the esteemed Rob Kelly over at the Fire and Water Podcast feed!

TRACKLISTSatan Said "Walrus Eggs" (Peekaboo podcast commercial with Sophie Sucre)2 Much Cocaine - Mean JeansBlonde Bombshell - Enoch LightStairway to Heaven - Pardon me BoysThe Man with the Golden Arm - Barry AdamsonStripped - Shiny Toy Guns Gator's Groove - Willis Jackson Jose Jimenez - The Wetbacks How to be a Good Housewife - Joey Martini Honey Hush - Screaming Lord Sutch All-out Annie - Dwight Fiske Little Egypt - The Coasters It's Raining Outside - Wynona Carr Miniskirt - Skeewiff BoJack Horseman - Theme Title Private Life - Oingo BoingoEvil Plot to Blow up Batman - Neal Hefti Chaquita - Various from "The Roots of Mod"Adam & Evil - Elvis Presley Stripper - Lords of Acid 

In this episode we interview Jerad Marantz who is a concept artist for such films as : Planet Of the Apes, The Amazing Spiderman, The Conjuring, Guardians of the Galaxy, Batman vs. Superman and such television shows as American Horror Story and Grimm. Music is The Eyeland by Michael Giacchino Monster Mash by Bobby “borris” Pickett Batman Theme by Neal Hefti.

Inspired by what is supposedly (and inexplicably) the highest-grossing animation film ever made, we bring you a show themed around Disney’s Frozen, including several improvements on tracks featured in that film as well some other ice-themed tunes which we feel … Continue reading →

In an unusually timely edition of the show (don’t worry, dear listener, it won’t happen again), we bring you a selection of our favourite egg-related tunes from quite literally around the world. There are songs from France, Arabia, Spain, China, … Continue reading →

Prompted by the inclusion of an owl-themed track on the new Spacedog album and a seagull-themed track on Jonny Trunk’s recently released collection of music and songs used in Fingerbobs, we thought it an appropriate moment to celebrate all things … Continue reading →

The final recording by this group co-led by trumpeter Donald Byrd and baritone saxophone master Pepper Adams. This is this band's finest outing and it's made even better because of the dynamic drumming of "Philly Joe" Jones.Nice tunes by Byrd and pianist Duke Pearson and Neal Hefti make this album the group's finest recording.