FReeper Canteen - Tunes For Our Troops! - 30 May 2015

Our Troops Rock!!!!!!!!!!!!!!!!!!! | The canteen DJ's

[AZamericonnie]

 
 

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Tunes For The Troops

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Warning: Not all the music you hear below will be appropriate for children! Please click with caution. Thank you!

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Tunes For The Troops
 

 


This music is provided for the entertainment of our Troops, Veterans, Allies & their families!

Enjoy the variety of musical selections that the Canteen Deejays provide throughout the thread. Please ping any DJ with your requests for the Troops!

All music is removed on Monday.
Thanks to all the DeeJay's for their time & effort providing entertainment for the Troops!

*Canteen Mission Statement*

Showing support and boosting the morale of
our military and our allies military
and the family members of the above.
Honoring those who have served before.
 

 A supergroup is a music group whose members are already successful as solo artists or as part of other groups or well known in other professions. Usually used in the context of rock and pop music, the term has been applied to other musical genres such as The Three Tenors in opera.

The term is sometimes applied retrospectively when several members from a group later achieve notable success in their own right. Supergroups are sometimes formed as side projects and thus not intended to be permanent, while other times can become the primary project of the members' careers. Charity supergroups, where prominent musicians perform or record together in support of a particular cause have been common since the 1980s.

Click the pics for music.

Bloodline - Bloodline
        Joe Bonamassa, Erin Davis (Son of Jazz Legend Miles Davis), Waylon Krieger (Son of Robbie Krieger of The Doors), Berry Oakley, Jr. (Son of Berry Oakley of The Allman Brothers Band), Lou Segreti

Damn Yankees - Don't Tread
        Ted Nugent, Tommy Shaw (Styx), Jack Blades (Night Ranger), Michael Cartellone

Foo Fighters - In Your Honor
        Dave Grohl (Scream, Nirvana,) Pat Smear (The Germs, Nirvana), Nate Mendel (Sunny Day Real Estate, The Fire Theft), William Goldsmith (Sunny Day Real Estate, The Fire Theft), Taylor Hawkins (Sass Jordan, Alanis Morissette), Franz Stahl (Scream, Wool), Chris Shiflett (No Use for a Name, Me First and the Gimme Gimmes)

Mad Season - Above
        Layne Staley (Alice in Chains), Mike McCready (Pearl Jam), Barrett Martin (Skin Yard, Screaming Trees), John Baker Saunders (The Walkabouts)

Neurotic Outsiders - Neurotic Outsiders
        Steve Jones (Sex Pistols), Duff McKagan (Guns N' Roses, The Fartz), John Taylor (Duran Duran), Matt Sorum (Guns N' Roses, The Cult)

Slash's Snakepit - It's Five O'Clock Somewhere
        Slash (Guns N' Roses), 1993–1995Matt Sorum (Guns N' Roses, The Cult), Gilby Clarke (Guns N' Roses), Mike Inez (Alice in Chains, Ozzy Osbourne), Eric Dover (Jellyfish), James LoMenzo (Pride and Glory), (White Lion), Brian Tichy (Pride and Glory)

Temple Of The Dog - Temple Of The Dog
        Chris Cornell (Soundgarden), Stone Gossard (Green River, Mother Love Bone, Pearl Jam), Jeff Ament (Green River, Mother Love Bone, Pearl Jam), Matt Cameron (Soundgarden), Eddie Vedder (Pearl Jam), Mike McCready (Pearl Jam)

Texas Tornados - The Best Of
        Freddy Fender (solo), Doug Sahm (Sir Douglas Quintet), Augie Meyers (Sir Douglas Quintet), Flaco Jimenez (session accordionist)

[Kathy in Alaska]

Good evening, Luv, and thanks for spinning tunes for the troops. ((HUGS))

[Publius]

Nighty-night, Ms. B. See ya tomorrow.

[Kathy in Alaska]

Good night and rest well, MS B...*HUGS*
Thanks for all you do for our troops.

[HiJinx]

G’night, Ms. B!
See you later...

[luvie]

There sure will be. We’ll have a special thread for pictures, etc, from the shoot....and I, for one, will have tunes uploaded when I get some downtime over the weekend. :)

We got it covered!

[luvie]

Howdy, Kathy! ((((hugs))))

It’s a pleasure to do this small thing for the ones who keep us safe and free!

Thank YOU for what you do for them....AND for us! We rock here in the Canteen! :)

[Kathy in Alaska]

Welcome Troops, Veterans, Families, and Allies!
Music posted for your enjoyment. Thank you for serving our country.

Thanks, unique.

Parents, you are responsible for previewing.

Karen Brooks & Johnny Cash ~ I Will Dance With You

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please click the links at the top of the thread.*

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[Kathy in Alaska]

Welcome Troops, Veterans, Families, and Allies!
Music posted for your enjoyment. Thank you for serving our country.

Thanks, unique.

Parents, you are responsible for previewing.

Ashton Shepherd ~ Where Country Grows

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[Kathy in Alaska]

Welcome Troops, Veterans, Families, and Allies!
Music posted for your enjoyment. Thank you for serving our country.

Thanks, unique.

Parents, you are responsible for previewing.

Kenny Rogers ~ Daytime Friends

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[HiJinx]

150?

[Liberty Valance]

Greetings & Salutations!

The Beatles - The Night Before

[Kathy in Alaska]

Welcome Troops, Veterans, Families, and Allies!
Music posted for your enjoyment. Thank you for serving our country.

Thanks, unique.

Parents, you are responsible for previewing.

Commander Cody ~ Hot Rod Lincoln

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If you would like to be added/removed from the
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[Kathy in Alaska]

Welcome Troops, Veterans, Families, and Allies!
Music posted for your enjoyment. Thank you for serving our country.

Thanks, unique.

Parents, you are responsible for previewing.

Commander Cody ~ Hot Rod Lincoln

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please click the links at the top of the thread.*

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[Drumbo]

My theme for this abbreviated jukebox came about quite by accident. As some of you know, I'm literally putting the old band back together for one last tour. Lord willing, my partner and I go into rehearsals for the Hendrix tribute in September and I've been working on putting together all the logistics involved, including some serious woodshedding of drum parts. One of the tunes I've been very consumed with recently is "1983 ... (A Merman I Should Turn to Be)" from Jimi Hendrix' 1968 Electric Ladyland album. The name of the new (old) band is in fact taken from the liner notes of the album where Jimi wrote, "Letter from the Room Full of Mirrors".

While Jimi never performed "1983" in concert (due to multiple tracked guitars and heavy studio effects such as phase shifters, ring modulators, chorus echoes and tape loops applied to all the instruments), with today's advanced looping and sampling technology it's possible, but it's still a difficult piece to duplicate authentically live for three guys. We know of only one artist who performs it and that's Randy Hanson's trio, but he plays it rather "straight up" attempting few of the psychedelic special effects. Our goal is to not just duplicate Jimi's tricked out studio version, but to take it to another level that Jimi would have surly reached had he not died in 1970.

About two minutes into the Hendrix piece, the drums begin a Boléro rhythm which the guitar and bass join in on for 26 measures before reaching a grand pause and then segueing back to the main theme. While it's rather tame stuff by today's standards, in 1968, it was downright avant-garde for a rock composer to so blatantly "steal" from classical music. It was Stravinsky who said, "Mediocre composers borrow; Great composers steal". Of course the larceny in question is from Maurice Ravel's repetitive Spanish dance "Boléro" which premiered in 1928.

As so often happened, Jimi started something. In 1967, the same year that Jimi composed "1983" and circulated the demo around the music community in London, Rock's best known plagiarist, Jimmy Page produced and claims to have composed "Beck's Bolero" for his former Yardbird band-mate Jeff Beck. The next year, The James Gang, opening for The Who produced their own trio arrangement of "Ravel's Boléro" featuring Joe Walsh.

With all three of these versions circulating in 1968 the flood gate had opened and as I'll feature in this jukebox, everyone from Deep Purple to Emerson, Lake and Palmer were Boléroing. Frank Zappa, Ted Nugent, Henry Mancini, Genesis and Iron Maiden all work snatches of Boléro into their repertoire. For a while, only the Bo Diddley beat was a more popular Rock cliché.

But to understand the Bolero rhythm in rock we need to travel back to 1928 when Maurice Ravel invented it. In fact, what we know as Ravel's Boléro, could have easily have been Ravel's Fandango, which it what he called it when he first demonstrated the melody with one finger on the piano to his friend Gustave Samazeuilh, while vacationing at St Jean-de-Luz. He felt the theme had an "insistent quality". He was working on a commissioned ballet from the dancer Ida Rubinstein, who had asked Ravel to make an orchestral transcription of six pieces from Isaac Albéniz's set of piano pieces, "Iberia". However, the movements had already been orchestrated by Spanish conductor Enrique Arbós, and that copyright law prevented any other arrangement from being made and by the time it was smoothed over and Arbós gave him permission to proceed, Ravel had already moved on to composing his own "dance".

The composition was a sensational success when it was premiered at the Paris Opéra on 22 November 1928, with choreography by Bronislava Nijinska and designs by Alexandre Benois. Ernest Ansermet had originally been engaged to conduct during the entire ballet season, but the musicians refused to play under him and for the premier of Boléro, the orchestra of the Opéra was conducted by Walther Straram.

Boléro became Ravel's most famous composition, much to his surprise. He had predicted that most orchestras would refuse to play it, and with good reason. The piece is written in C major, 3/4 time, beginning at triple pianissimo (as soft as possible) and rising in a continuous crescendo for almost 15 minutes to fortissaissimo possibile (as loud as possible). It is built over an unchanging ostinato rhythm played on one or more snare drums that remains constant throughout the piece until the final measures:



Perhaps I'll share more about Ravel's struggles with and the uniqueness of the piece as time allows tomorrow, but going full circle I'd like to get back to why this is so personal to me. In the 1979 movie 10, the character played by Bo Derek asks, "Did you ever do it to Ravel's Bolero?", a reference to the idea that the work is a good soundtrack for making love to. A four-minute excerpt of Boléro was used during Bo's subsequent sex scene and it significantly increased sales of recordings of the work.

Seriously, when I began studying music under a private teacher in the early 60s, I was in training to be a classical percussionist. My instructor was Karen Irving, percussion instructor at Norfolk State College and a member of the Norfolk Symphony (which eventually became The Virginia Symphony). She had studied under Chicago's William Kraft (Composer, Conductor, Teacher and world renown percussionist). Kraft was a recipient of two Anton Seidl Fellowships at Columbia University, graduating with a bachelor’s degree cum laude in 1951 and a master’s degree in 1954. He studied composition with Jack Beeson and Henry Cowell, orchestration with Henry Brant, percussion with Morris Goldenberg (the man whose method book, "Modern School for Snare Drum" is still the mother's milk of every serious drummer and has been in continuous publication for almost 70 years). Kraft studied timpani from Saul Goodman, and conducting with Rudolph Thomas, Fritz Zweig and was himself conductor of the Los Angeles Philharmonic for 3 seasons under Zubin Mehta. During his Chicago and New York years, Kraft was also active as a freelance drummer and had the privilege of working with some of the most well known musicians of the mid-twentieth century. Among his gigs, he played as a percussionist for the Metropolitan Opera and played percussion and conducted for Ondine. In 1954, Kraft joined the Dallas Symphony and after only one season there, he moved to the Los Angeles Philharmonic where Mrs. Erving studied privately with him for almost a decade before coming to Norfolk with her husband who was the Chief Trombone Instructor at The US Navy School of Music.

As I stated, while under Mrs. Erving's tutorage, between the ages of six and eleven, I was being groomed as a classical percussionist in the shadow of Kraft and Goldenberg's legacies. I owned a drum kit, and played Beatles and Buddy Rich music fanatically, but was never allowed to do so in her presence. In fact, I never recall sitting in her presence. I stood behind my snare drum, dutifully performing the 26 standard drum rudiments approved by the NARD (National Association of Rudimental Drummers) and then moving on to my prepared lessons from both the Goldenberg book and Benjamin Podemski's Standard Snare Drum Method. It was pretty dry stuff for a pre-teen who wanted only to grow up to be a Beatle, but I learned early on that before you can build a house, you need a solid foundation and for a drummer that includes proper technique, solid stick control and a metronome ticking inside your head when you are reading music.

So, in 1965, I had never played my Rock'n'Roll drum set in public other than at a few parties and garage jam sessions, but, I was already first chair snare drum with the All City Elementary School Band and the Virginia Beach Civic Orchestra - where I got my first taste of performing "Ravel's Boléro" in public - a mammoth task for any drummer, much less a 10 year-old. Luckily I had Mrs. Erving to coach me and teach me the tricks of the trade. Here's the hot tip: The only way to play a two measure exacting repetition continuously for 15 minutes is to practice it for literally hundreds of hours. To play it in public without distraction of nerves while executing a continuous gradual crescendo ... double the practice time. I have literally spent weeks of my life playing those two measures of triplets - I've no worries at all of nailing Jimi's 26 bars in "1983", lol. The other trick is to begin on a piccolo snare drum (3" X 13") with very light sticks and once you max out, move flawlessly to a standard 5" x 14" snare with slightly heavier sticks (and don't miss a beat!). Again, when it starts to hurt, step up to an 8.5" X 14" and grab the 2B sticks and by the end have another drummer standing by to double you on a 15" X 15" marching snare with baseball bats. Right after the sudden change of key to E major in the finale when it drops back to the key of C, you also need in your percussion section, a crash cymbal player (the bigger the better), a bass drummer and someone to slam the biggest gong you can beg, borrow or steal with a sledge hammer. Then you go home, ears ringing, arms aching and soak your wrists in ice and bandage the blood blisters under your callouses.

By 1967, Mrs. Erving went back to Los Angeles to take William Kraft's seat in the Los Angeles Philharmonic and become the president of the Percussive Arts Society (PAS). She said she had taught me all she could and handed me off to John Lindberg, former chief of percussion at The US Navy School of Music and principal percussionist with the Virginia Symphony. But at least Mr. Lindberg sat me behind a drum kit and taught me to swing (with still more method books) - but, it was 1967, and I was playing Jimi Hendrix songs in bands with guys twice my age. Thank you Mrs. Irving, thank you Maurice Ravel and thank you Canteen for indulging my long winded introduction to my theme of the week:

The Bolero Rhythm in Rock

I'll get around to that tomorrow so stay tuned, but first, here it 'tis ... the genesis of Boléro. And a warning, if your speakers are loud enough to hear the snare drum at the beginning, stay around to adjust them or you'll wake the neighbors before the end.



Maurice Ravel's Boléro
~ Berlin Philharmonic conducted by Herbert von Karajan ~

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[Liberty Valance]

Ha! I liked the 2nd one. ;)

[Kathy in Alaska]

Thanks, unique!

Luv.....#50 and #100!!
HJ.....#150!!

[Kathy in Alaska]

Greetings & Salutations, Liberty. Thanks for the video tunes for the troops to enjoy. ((HUGS))

[Kathy in Alaska]

Good morning, Drumbo...great “history” you’ve written.

The intensity is REALLY building now, and the volume is going up!! Great music, and I could hear he snare drum working really hard!

Thanks for sharing. ((HUGS))

[Kathy in Alaska]

Prayers for Arrowhead's recovery, and in his absence....

[Kathy in Alaska]