Baroque Pop Breakfast

Monday, April 17, 8-10 AM, we’ll be kicking off the Rock Marathon with Baroque Pop Breakfast. Enjoy two hours of this special and short-lived genre that blended classical and rock.

Jay Jackson and Ralph Graves are your hosts, both uniquely qualified to present this music to you. They not only know classical music, but they lived through the Baroque Pop era!

What was Baroque Pop?

Producers were looking for fresh sounds in the early 1960s. A fascination arose for the antique sound of the late Baroque and early Classical eras.

Orchestras were often used to sweeten pop ballads, but this was different. The sound mimicked that of a chamber group of musicians from the 1790s.

There were three characteristic components. The harpsichord usually played arpeggiated chords. The string quartet for accompaniment (or just a solo cello). And the oboe for a counter melody (sometimes joined with other solo winds).

The instrumental sound

Classically-trained George Martin used string quartets on some Beatles songs. This stripped-down sound was inspired by the quartets of Mozart and Haydn. It was very different from the lush string ensembles that normally backed singers.

The harpsichord, with its clear treble sound, also became a favorite with producers. This instrument originally rose to prominence in the Baroque Era (1600-1750). It lingered on through the end of the 18th Century when the piano replaced it. Bach, as well as Mozart and Haydn, played and wrote music for the instrument.

The oboe is a double-reed instrument. Its timbre harkened back to the reed instruments of the Renaissance. Sometimes producers used other woodwind instruments, such as the flute, bassoon, and clarinet.

A less-common instrument used was the Baroque trumpet. This instrument often played highly-ornamented melodies in the upper register. It’s heard in the Beatle’s “Penny Lane,” and the Free Design’s “The Proper Ornaments.”

The compositional sound

Baroque Pop also borrowed some stylistic elements from the Renaissance and Baroque Eras.

Modal scales and harmonies were common in the Renaissance (1450-1600). Many of these fell out of favor during the early Baroque. After 1600 only two of the original six modes: Ionian (what we now call major scales), and Aeolian (minor scales).

Folk songs that have their origins in the Renaissance still use these earlier modal scales and harmonies. They give a distinctive sound to traditional ballads of Great Britain and Appalachia. “Scarborough Faire” by Simon and Garfunkle uses modal harmonies, as does “Lady Jane” by the Rolling Stones.

A common Baroque practice was the sequence. This was a melodic pattern that repeated a note lower, and then again another note lower. Sequences lead off “Sunday Will Never Be The Same” by Spanky and Our Gang, and “Light My Fire” by the Doors.

Strictly a 60s phenomenon

The characteristic instruments of Baroque Pop had been used before by producers. “Summertime, Summertime” by the Jamies (1958) features a harpsichord. And it has some distinctively Baroque chord progressions.

But the genre Baroque Pop first appeared on the 1965 British charts. The Yardbirds’ “For Your Love” was one of the earliest.

Marianne Faithfull had a string of Baroque Pop hits — all written by Keith Richards and Mick Jagger. “As Tears Go By,” and “Come and Stay With Me” are two examples.

Richards and Jagger, the Glimmer Twins also crafted Baroque Pop gems for themselves. 1966 saw the release of “Playing With Fire,” “Lady Jane,” and “Ruby Tuesday” by the Rolling Stones.

One of the earliest adopters in the States was Sony Bono, a protege of producer Phil Spector. Sonny and Cher’s “I’ve Got You Babe” includes both harpsichord and oboe mixed into the Wall of Sound.

More hits in 1966

By 1966 the sound was well-defined — and more artists were using it. The Beatles had three hits with it. “Eleanor Rigby,” “She’s Leaving Home” and “Yesterday” all use the intimate sounds of a string quartet. Brian Wilson, another Phil Spector protege, added a harpsichord to “God Only Knows.”

The Left Banke embraced the sound, making it a fundamental part of their style. Their classic “Walk Away, Renee,” hit the trifecta: harpsichord, string quartet, and solo woodwinds (in this case, flute).

The Summer (and Winter) of Love T

he quaint and antique sound of Baroque Pop meshed well with the mellow vibes of the So-Cal style. Judy Collins’ “Both Sides Now” benefited from the delicate sound of a harpsichord. That same folk/rock groove can be heard on “Different Drum” by the Stone Poneys.

Harpsichords also tinkling away in tracks by the Zombies, The Yellow Balloon, and Spanky and Our Gang. It even infiltrated Motown, turning up in the Supremes’ “Love is Here and Now You’re Gone.”

“The 59th Street Bridge Song (Feelin’ Groovy)” doubled down on the double reeds. The song’s woodwind quartet included both oboe and bassoon (as well as flute and clarinet).

Procol Harum’s “Whiter Shade of Pale” went a step further. Most Baroque Pop hits copied parts of the 18th-century classical style without quoting any of its music. Keyboardist Keith Reid used Johann Sebastian Bach’s “Air on a G String” as the foundation for the song. The song didn’t use a harpsichord, string quartet, or oboe. But the organ’s Bach-like obbligato makes the track one of the most solidly linked to the past.

End of a decade, end of an era

In 1968, there were still some examples of Baroque Pop on the charts, but the genre was fading in popularity. “Love is Blue” by Paul Mauriat was a big instrumental hit. But it moved the harpsichord from hip coolness to unhip easy listening.

The Love Generation used a harpsichord in “Leaves Go Gray.” The track used a full string section, which diluted the delicate Baroque Pop sound. Tommy James kept it real with “Sugar On Sunday,” a song he wrote with Mike Vale and recorded with his Shondells. The harpsichord remained an integral part of the song when the Clique covered it the following year.

Donovan’s “Jennifer Juniper” featured a traditional woodwind quintet — flute, clarinet, oboe, french horn, and bassoon.

Jon Lord, the keyboard player for Deep Purple, explored the intersection between rock and classical. It eventually lead to his 1970 composition “Concerto for Group and Orchestra.” On the group’s 1968 album “The Book of Taliesin” the song “Anthem” includes an intricate fugue ala Bach.

The Clique’s “Sugar on Sunday” and Vanity Fare’s “Early in the Morning” were the only two Baroque Pop songs to chart in 1969. And in 1970, there was only one: “The Tears of a Clown” by Smokey Robinson and the Miracles.

The instruments of the genre could still be heard in the mix of some early 70s tracks. But they weren’t playing the same type of music. The Baroque Pop Era had come to an end.

Music to flip your powdered wig

We won’t have time to play all the examples of Baroque Pop in our two-hour program. But we’ll do our best!

Below is a Spotify playlist with all the hits and quite a few misses.

Be sure to tune in, Monday, April 17, 8-10 AM.

And be sure to make your pledge to support WTJU by calling 434-924-3959 or going to wtju.net. It’s what Bach would have wanted.

Fake Bands, Reel Music Part 3 - Fake Headliner Bands

Thursday, April 16, 2020, at 4 pm I'll be hosting a special program for the WTJU Rock Marathon. I'll be featuring music -- and the artists that perform it -- specifically for movies and TV shows.

Fake Headliner Bands -- Movies 

A fictional band -- or artist -- can be the subject of a serious film. "That Thing You Do!" is a 1996 film that tells the story of the Wonders, a one-hit-wonder band from Pennsylvania. The movie perfectly captures the pre-British Invasion pop scene of 1964. The Wonder's hit (written by Adam Schlesinger of Fountains of Wayne) became a legitimate hit in 1996, peaking at #22 on the Billboard charts.



The film also captured the styles of other early 1960s' genres. "My World is Over" mimics Dionne Warwick's Burt Bacharach/Hal David songs, and is sung by Jackie DeShannon. Surf guitar, girl group ballads -- even TV show crime jazz is referenced.

In "Eddie and the Cruisers," a reporter tries to solve the mystery of what happened to Eddie Wilson. This 1983 film featured music from Eddie's group, ca. 1963. John Cafferty & The Beaver Brown Band played Eddie and the Cruisers for the soundtrack.

The 1991 movie "The Commitments" tells the story of Irish working-class youth Jimmy Rabbitte. He manages to put together a soul band with local talent. The group almost makes it, but falls apart due to lack of, well, commitment. Even though all of the songs are covers of 1960s soul, it's just too well-done not to include.



The 1970 "Beyond the Valley of the Dolls" was originally meant to be a sequel to the 1967 "Valley of the Dolls." But it soon changed into something else. It tells the story of three young women who make up The Kelly Affair, a rock trio. They come to Los Angeles and fall prey to the rock-n-roll lifestyle. The group renames themselves the Carrie Nations and almost makes it to the top before the overwrought drama brings everything crashing down.

The Kelly Affair/Carrie Nations tunes were written by Stu Phillips (best known for "Knight Rider"). The Strawberry Alarm Clock also appeared in the film an on the soundtrack album.

Fake Headliner Bands -- Live-Action TV

Sometimes, the fictional group is front-and-center, their name embedded in the title. TV versions are easy to name. Live-action candidates include The Monkees and the Partridge Family. In both cases, members of these groups had stronger chops than critics gave them credit for.

With the exception of Mickey Dolenz, the other three Monkees were all experienced musicians. Mike Nesmith was perhaps the most successful, having written "Different Drum" for the Stone Poneys (with Linda Ronstadt).

The core of the Partridge Family was Shirley Jones and her stepson, David Cassidy. Jones had a long career in musical theater and movie musicals. Cassidy was starring in a Broadway production when tapped for the TV show, a career he resumed after it was canceled.

A lesser-known TV show band was the 1882 Fox series The Heights. The eponymous band was a group of twenty-somethings trying to escape their blue-collar jobs through music. It only lasted one season, canceled just as a song from the show became a hit. "How do you talk to an angel" credits The Heights as the band, with Jamie Walters (who played Alex O'Brien) singing lead.



One of the most bizarre live-action series featuring a band was Lancelot Link, Secret Chimp. This 1970 Saturday morning kids' show featured chimpanzees. Lancelot Link, agent of A.P.E. battled the forces of C.H.U.M.P. in two ten-minute adventures each week. Each episode also included a musical number by Link's band -- the Evolution Revolution.

Fake Headliner Bands -- Cartoons!

While there have been a number of cartoon bands (all voiced by studio musicians), not all meet my criteria. The Archies were certainly the most successful, but the characters only played together in music segments between the stories -- the series wasn't about a band per see.

A better case might be made for the Hardy Boys. In this 1969 series, the main characters of the books are all in a band, who solve mysteries on their way to various gigs. Each story included both a mystery and a musical segment. The songs were released as an album "Here Come the Hardys" in 1969, with four singles that modestly charted.



The Banana Splits were a shameless ripoff of the Monkees, dumbed down to what the producers thought young children would find hilarious.

Josie and the Pussycats work on all levels. The show was about the band itself, and each story featured a musical number. The franchise also translated well to the big screen.

Rachael Leigh Cook, Tara Reid, and Rosario Dawson play modern versions of the characters, the music updated from late 60s bubblegum to early aughts alt-rock. Kay Hanley (Letters to Cleo) provided lead vocals for the soundtrack.

And now a word from our sponsor 

Perhaps the oddest fake group to qualify is the Glass Bottle. The group was formed for a 1970 ad campaign. Glass manufacturers wanted to get kids to switch from aluminum cans to glass bottles -- really.


In addition to doing some super-hip ads, the band also cut an album. "I Ain't Got Time Anymore" reached #36. A real hit from a fake band.

Fake Bands, Reel Music Part 2 - Fictional bands and biofics

Thursday, April 16, 2020, at 4 pm I'll be hosting a special program for the WTJU Rock Marathon. I'll be featuring music -- and the artists that perform it -- specifically for movies and TV shows.

Fictional groups as characters

A fake band can serve various roles in a film.

"Animal House" was set in 1963. Soul band Otis Day and the Knights perform for a white fraternity party. Later, some of the brothers see them advertised at a roadhouse. They burst in, not realizing it's an African-American establishment. Hilarity (of a sort) ensues.

Frankie Avalon's head was often turned in the American International beach movies. In 1965's "Beach Blanket Bingo" it was Linda Evans. Evans played Sugar Cane, a singer doing publicity stunts to promote her latest album. She performs numbers from it backed by the Hondells in the movie. Jackie Ward provided Evan's singing voice.


A more curious example is found in 1964's "Bikini Beach." In answer to the British Invasion, Frankie Avalon plays two roles; Frankie the surfer, and Peter Royce Bentley, AKA Potato Bug. Both via for Annette Funicello's attention. The Potato Bug is an amalgam of the Beatles. His songs pastiche the sounds of "I Want to Hold Your Hand." At one point both Frankie and Potato Bug sing a duet, each in their own style.



In the 2007 rom-com, "Music and Lyrics," Hugh Grant plays Alex Fletcher, still trading on his fame as a member of PoP. Based on Wham!, the group's sole hit "Pop Goes My Heart" is performed in the opening credits in an 80s-style music video.



"Groupie Girl" is a 1970 UK drama, based on the memoirs of former groupie Suzanne Mercer. The heroine falls in with a number of bands. English Rose (created for the film) gets an extended sequence for their song "Yesterday's Heros."

Biofics - thinly disguised biographies 

Sometimes an artist will play a slightly fictionalized version of themselves. In "Purple Rain," Prince plays The Kid, but really -- it's Prince. And the rest of the cast also plays basically themselves. Apollonia Kotero as Apollonia; Morris Day as Morris, Jerome Benton as Jerome and so on.



Eminem plays Jimmy "B-Rabbit" Smith, Jr. in "8 Mile." The story of Jimmy is essentially Eminem's as well.

But biopics don't have to be autobiofictional. Several movies have told fictionalize versions of very real artists.

Bette Midler played Mary Foster Rose, a self-destructive singer. This 1979 movie was reworked when the Janis Joplin Estate denied the producers the rights to her story. Songs of the era are mixed with original music, all lending themselves to Midler's Joplin-like delivery. "The Rose" was written by Amanda MickBroom.

"Grace of My Heart" was a 1996 film starring Illeana Douglas. Her character, Denise Waverly has a life quite similar to Carole King's. Both start as songwriters and eventually emerge as performing artists with the release of a seminal album in the 1970s.

The score imitates the various eras -- early 60s pop, mid-60s California sound, and of course, the piano-based sounds of Carole King's "Tapestry." Score contributors included Burt Bacharach, Elvis Costello, Joni Mitchell, and Jill Sobule.



"Dreamgirls" was a smash Broadway musical, becoming a film in 2006. In this case, the fictional biography is of a group. The Dreamettes are based on the Supremes. Henry Krieger and Tom Eyen wrote the Broadway score, rearranged by Harvey Mason Jr. and Damon Thomas for the film. The end result is a score that parallels the historical development of the Motown sound. The rock-solid cast included Jennifer Hudson, Beyonce Knowles, and Jamie Fox.




In "Almost Famous," the biographical basis for the movie isn't the band, but the reporter who followed it. Director and writer Cameron Crowe had been a journalist for the Rolling Stone in his teens. The movie tells the story of a teenage journalist covering a band on tour, trying to get a cover story for the Rolling Stone.

In real life, Crowe covered the Allman Brothers Band, Led Zeppelin, Poco, and Lynyrd Skynyrd. Those bands are blended together to create Stillwater for the film.

A Star is Born (again and again)

The first version of this film was made in 1937 with Janet Gaynor and Frederic March. Gaynor's trying to break into movies, and March is a matinee idol. Her star rises while his fades, dooming their romance. The 1954 version (Judy Garland and James Mason) made it a musical.

The 1976 version transformed it further. The lead characters became musicians rather than actors. Barbra Streisand played Esther Hoffman Howard to Kris Kristofferson's self-destructive rock star John Norman Howard.



In 2018, Lady Gaga as Ally Campano and Bradley Cooper as alcoholic Jackson Maine play the leads. In both these versions, the stars performed -- and in some cases -- wrote the songs their characters sing.

Next: Fictional Bands as headliners

Fake Bands, Reel Music Part 1 - Mockumentaries

Thursday, April 16, 2020, at 4 pm I'll be hosting a special program for the WTJU Rock Marathon. I'll be featuring music -- and the artists that perform it -- specifically for movies and TV shows.

Fictional musicians were a staple of the movie industry since the introduction of sound. Al Jolson played Jakie Rabinowitz, a fictionalized version of himself in 1927's "The Jazz Singer." But with the advent of rock and roll, the concept of fictional artists grew and expanded.

"Fake Bands, Reel Music" takes a look at how fictional groups really rocked.

Mockumentary Movies

When asked to name a mockumentary about music, many people respond, "Spinal Tap." And rightly so. What made Carl Reiner's 1984 film such a masterwork is the obsessive attention to detail. The movie features songs by the band from the early 60s, the Summer of Love, and into heavy metal. And each track is stylistically correct, sound exactly like the era its meant to invoke.



Guest, McKean, and Shearer would become part of a repertoire company who collaborated on a number of successful documentaries, such as "For Your Consideration" and "Best in Show."

One of their films, "A Mighty Wind" (2003) follows three folk music groups as they gather for a tribute concert. The Folksmen (McKean, Guest, and Shearer) are based on the Kingston Trio. Their misguided attempt to go electric couples the Byrd's jangly guitar with earnestly flawed lyrics.


Also featured are Eugene Levy and Catherine O'Hara as Mick and Mickey, an Ian and Sylvia soundalike.

John C. Reilly starred in 2007's "Walk Hard: The Dewey Cox Story." The film is a comedic take on documentaries about Johnny Cash, Roy Oberson, and other early sixties stars. The film's unusual in that it mixes real celebrities (played by others) with the fictional musicians. Marshall Crenshaw and Van Dyke Parks contributed to the ostensively decade-spanning score.

The Rutles began as a skit created by Eric Idle (Monty Python) and Neil Innes (Bonzo Dog Band). This Beatles pastiche, with songs written by Innes, soon took on a life of its own. The group toured and had two UK hits.

Their 1978 TV movie "All You Need is Cash" is a satirical mockumentary of the Beatle's career. Included in the cast was George Harrison as the interview, Ron Wood, John Belushi, and Dan Aykroyd. Mick Jagger, Paul Simon, and Roger McGough appear as themselves.

Small Screen Mockumentaries

"Documentary Now!" is a half-hour mockumentary series starring Fred Armisen and Bill Hader. Each episode parodies a famous documentary film, with a keen eye to detail.

"Gentle & Soft: The Story of the Blue Jean Committee" mirrors "History of the Eagles." Armisen and Hader's Blue Jean Committee is a perfect amalgam of the Eagles, America, Steely Dan, and the 70s So-Cal sound.



"Final Transmission" was based on the Talking Heads documentary "Stop Making Sense." Armisen and Hade, with help from Maya Rudolph, nail the New Wave sound of their inspirations.

John Mulaney plays a version of Stephen Sondheim for "Original Cast Album: Co-Op." It's based on the documentary of the recordings sessions for "Company." The episode features several Sondheim-like numbers that all ring true -- and explain why "Co-Op" was canceled (according to the story) after one performance.

At the height of the boy band craze, MTV produced "2Gether," a mockumentary TV movie. The title group was a by-the-numbers boy band, each member selected to fill an archetype; the heartthrob, the shy one, the cute one, the older brother, and the bad boy. 2Gether became a TV series, running on MTV for two seasons. They also released two albums.


All of the actors sang for the recordings.

Their single "The Hardest Part of Breaking Up (Is Getting Back Your Stuff)" charted on the Billboard Hot 100, and in 2000 they opened for Britany Spears on her summer tour.

Next: Fictional groups as characters

Your Morning Shag - Carolina Beach Music Classics!

For the 2020 WTJU Rock Marathon, I'll be hosting a special program on WTJU-FM. Wednesday morning, April 15 from 7-9 am you can enjoy "Your Morning Shag."

This shag has nothing to do with Austin Powers. Rather, the shag means something special on the East Coast. It's a dance developed along the Carolina beaches in the 1950s that remains popular today. (Actually, the scene extended from Virginia through Georgia, though concentrated in the Carolinas).

According to some, the shag became popular because you could dance it on the sand -- ideal for summer beach parties with vacationing teens and college students. The basic shag is a simple six-step pattern with many variations.

In the beginning, Top 40 hits that had the right shuffle tempo were used for beach dances. The Drifters, Maurice Williams and the Zodiacs, and the Tymes all became beach music favorites.

 Start with this...
 

 ...end up with this.

 In the early 1960s, Motown groups such as the Temptations and the Four Tops filled the bill. When the writing team of Holland/Dozier/Holland left Motown to form their own label, one of their first groups was the Chairmen of the Board. The Detriot-based band, with lead singer General Norman Johnson, transitioned into a Carolina institution.  

Several blue-eyed soul bands had national hits that became part of the beach music canon. Spiral Staircase, the Swinging Medallions, and even UK-based Foundations contributed Carolina beach classics.

 Regional bands also sprang up, not only capturing the sound but also writing lyrics specific to the area. Greenville, North Carolina's Band of Oz catalog includes "Shaggin," "Ocean Boulevard," and "Southern Belles." The Poor Souls from Charlotte, NC had several regional hits, including "It Ain't the Beat, It's the Motion," and "My Girl Stormy."

 And of course -- for this Virginia-based program -- we can't forget Bill Deal and the Rhondels. Hailing from Portsmith Virginia, their three national hits remain beach music classics.

Join me and Nick Rubin Wednesday morning, 7-9 am on April 15 for "Your Morning Shag." And when you call in or go online with your pledge to WTJU, let us know which beach was your favorite:

• Virginia Beach
• Carolina Beach
• Nags Head
• Cape Hatteras
• Myrtle Beach
• Other

We Have Band: Ternion a Turn On

Ternion
We Have Band
Naive

The second full-length album of this Manchester, UK trio has We Have Band really coming into their own. Yes, they still have an ethereal Dream Academy-like sound. But it's clearly an inspiration, not an imitation.
There's an underlying urgency to We Have Band's material that sets them apart from that earlier group. That and a natural ability to write pop tunes that are attractive without being trite.

While still relying primarily on the transparent vocals of Darren Bancroft and Dede Wegg-Prosser (husband Thomas plays guitar and adds harmony), WHB's sound can move from softly-focused to tight and crisp when it needs to.

The opening track "Pressure On" may be dreamy with half-formed melodies floating over impressionistic electronics, but the next track "Rivers of Blood" will have you up on the dance floor (think Soft Cell meets salsa). And those horns on "Visionary" really make that mid-tempo song groove.

Ten songs of intelligent pop by a trio that plays -- and harmonizes -- well together. "Ternion" means a group of three. We Have Band is just that. And a darned good one, too. If you like the music on BBC Radio One, check out We Have Band.

Time: It’s Good – and Howe

Steve Howe: Time
Warner Classics


Time is a collection of highly personal pieces by former Yes guitarist Steve Howe. As a solo project, it works pretty well.

If the last time you heard Steve Howe's work was when he was with Yes or Asia, then you won't find many similarities here. But if you've been keeping up his twenty+ solo albums Howe's been releasing since 1975, then Time will seem just another step in the growth of this artist.

With this album, Howe keeps his musical focus tight. The pieces are small -- almost miniatures -- with  stripped-down instrumentation. Even when he brings in classical musicians, the sound is transparent, light, and delicate

Personally, I don’t think much of classical crossover material, which colors my reaction to some of the tracks. Howe presents his own  versions of works by Ginastera, Bach and Vivaldi. While I understand the concept behind their inclusion – these are melodies that inspired Howe – I find them little more than pleasant background music.

Of greater interest to me are his original tunes. Howe plays a variety of acoustic guitars (all carefully documented track-by-track in the liner notes). Although there’s a consistent sound throughout the album, there’s also enough variety in the character of the individual tracks to make for a rewarding listening experience.

Don’t expect a lot of blistering guitar solos on Time. Howe displays his virtuosity in a more subtle form – by playing complex music effortlessly. If you’re expecting a return to Yes, you’ll be disappointed. But if you’re interested in some solid guitar artistry, Time might be worth your time.