The Girl From Ipanema is a far weirder song than you thought

I have always loved the song, it's so hauntingly beautiful. This video goes into a lot of detail that helps explain why.



It also explains why there are some versions of the song I don't like. It's more than just style. Some versions have key elements missing. The orginal early versions were more complex than most people realize.

A Star Dies

Obituary: Doris Day, America's archetypal girl next door

Big fan here, of her movies and her music. This day was inevitable, but...

Below is a link to the last post I did about her. At the end of it, are links to other posts I made about her.

Doris, we won't forget...

Doris Day's New Album: "My Heart"

     

Modern Russian Dance Music

File this under "Not your grandfather's Russia". I was perusing foreign radio stations on my Alexa app, when I came across this song on a Russian radio station. It sounded so modern, so ... "un-Russian", and it made me curious to know more. Here is a clip of the song being performed on a TV show. I think the song is in Russian, but I'm not sure, I think the couple performing are Ukrainian, and the Russian and Ukrainian languages are very similar, but the song and the dance are great, here it is, at what looks like Christmastime:



When I looked for the song, I found the Original Music Video on Youtube, where at one point it was the most watched video on Youtube by Russians. Clearly, some of my concepts about Russia need updating!

The duo's website: http://vremyaisteklo.com/.
     

My New Mountian Dulcimer

I'm getting a Roosebeck Grace Mountain 5-string Dulcimer:


I've always wanted to play a musical instrument. The string dulcimer is one of the easiest to learn, so I'm choosing it as my first. Here is an excellent video about dulcimers:



And here at this link is a brief but excellent history of the instrument. And last but not least, a short video showing how easy it is to learn to play:



If all goes well, perhaps I'll take up the Psaltery next. Have you ever heard one? It sounds heavenly, sort of like a cross between a violin and a harp.
     

Nina Hagen: Silent Night

I remember back when I was in college, Nina Hagen was hot stuff. Her style of music -comic punk?- isn't to my tasts. But I rather liked her rendition of this classic song.



Her rendition of Ave Maria is fairly decent too. But the graphics that go with it... Not Safe For Work.

     

What IS a "Spanish" Guitar?

As opposed to just a "regular" guitar? I've often wondered, so I looked it up:

What is the difference between Spanish guitar and acoustic guitar?

[...]

Similarities:
Both "Spanish" guitars and acoustic guitars are acoustic instruments, generally made of tone woods, usually consisting of spruce or cedar tops, mahogany or rosewood backs (or often cypress for Flamenco), and many other varieties.

Both usually have a range of scale (playing length of the strings) from about 609.6mm (24") to about 650mm (25.6"). Let's not dwell on the other similarities since they're obvious from the picture.

Differences:
String Material: Well the strings of course. Steel or other metals for acoustic, nylon for Spanish. One cannot simply put steel strings on a classical or nylon strings on an acoustic (see why in String Tension below).

Wider neck on Spanish: Most acoustic guitars have a neck width at the nut (where the neck meets the head) of about 42mm (approx 1-11/16") to about 45mm (approx 1-3/4"). Classical and flamenco guitars are closer to 2" wide (approx 49-52mm). This may seem trivial, but it makes a significant difference.

Neck to Body: In most modern acoustics, the neck meets the body on the 14th fret. Most Spanish guitars, it is on the 12th fret. Therefore the bridge (body end of the strings) is set back farther from the sound hole on most classical and flamencos (you can see this on the picture).

String Tension: Acoustic guitars must be built stronger, because the tension of the metal strings is approximately twice that of nylon. This is done with bracing. Any acoustic guitar top must be thin enough to resonate, but so thin that the top alone could not hold it together against the string tension. The bracing adds strength with a goal of minimal damping of resonance. Bracing patterns vary widely, but most Spanish guitars use "fan bracing" and most acoustics use "X bracing." [...]

Who knew? Read the whole thing for more details. I think the nylon strings on a Spanish/Classical guitar would be easier on the fingers. I find the metal strings on a regular acoustic guitar rather painful.

This short video explains the differences well:



The video that starts playing right after this one has a young guy explaining some more differences, which is interesting. Watch that one too if you want to know more. (or open it here.)
     

Bon Jovi Sings in Chinese

Jon Bon Jovi takes on Chinese classic love song

Jon Bon Jovi has become the latest Western pop star to woo the Chinese market, singing what is arguably the most famous Chinese love song ever. The BBC analyses his attempt.

The music video, set in a recording studio, starts in soft focus as the soulful opening strains of The Moon Represents My Heart cue up.

Then, Jon Bon Jovi's familiar gravelly voice fades in. "Ni wen wo ai ni you duo shen, wo ai ni you ji fen..." croons the American rock star in somewhat intelligible Mandarin.

"Jon put a lot of thought on choosing the right song for his Chinese fans," reads a statement on his website announcing the video.

[...]

Gift of love

Jon Bon Jovi's statement said he chose the "heart-warming classic for Chinese fans as a gift on Chinese Valentine's Day".

But there are actually two Chinese Valentine's Days.

One is Qixi Festival, which falls on 20 August this year. It marks the seventh day of the seventh lunar month, and is linked to the legend of the Cowherd and the Weaver Girl - star-crossed lovers who remain separated but reunite one day every year.

The other Valentine's Day is Yuanxiao Festival, which marks the end of the traditional Lunar New Year celebrations.

Crowd-pleaser

It's no coincidence that the video was released ahead of Jon Bon Jovi's Asia tour in September, where he'll be playing in China for the first time.

He is also performing in other places with significant Chinese populations such as Macau, Taiwan, Singapore and Malaysia.

While Western pop stars regularly play in Asia, it's rare for them to sing in Mandarin - but it's a guaranteed crowd-pleaser and helps to boost their profile.

[...]

So how have the Chinese taken to Jon Bon Jovi's attempt?

It hasn't generated much buzz on microblogging network Weibo - yet - but initial reviews appear to be positive, with many moved by his attempt to sing in Mandarin.

The music video features several shots of the 53-year-old looking stumped as he ploughs through the song and practises his pronunciation. At one point, a woman who appears to be his Mandarin tutor gives him an encouraging thumbs-up.

"Bon Jovi's too hardworking, he's given us Chinese fans a nice Qixi surprise... you can see in the video that he's continually trying to get the lyrics right, it's quite sincere," noted popular Weibo blogger Eargod.

Other fans were more circumspect. Said user Zhufuaguai: "Even though it sounds horrible, it's still Bon Jovi - and that's enough for me."

It sounds like a pretty song, though I don't imagine it's easy for a Western singer to emulate, especially someone who doesn't speak Chinese.

The rest of the article is about the history of the song, the original singer that made it famous did so in Taiwan, where she was from. In the late 70's, when the Chinese Communists began to loosen up on restrictions on Music, the song became popular in Mainland China.

The article also mentions other Westerners who are singing or speaking in Chinese. Is it the beginning of a trend? See the whole article for embedded links, photos, translated lyrics and more.

For comparison, here is a video of the original performer, Teresa Teng, singing the song:



     

Eydie Gorme Singing in Spanish

Why? Why not? It's beautiful. I'm studying Spanish, and her Spanish music is Fun! And she sings the words so clearly, it's easy to understand.

I did a post about her last year when she passed away. Her husband said her Spanish records sold a lot more than her English ones, and that she was a big name in the Spanish speaking world. I can see why.

     

"Blondie", Satanism, and Christian Contemplativism

Two more interesting posts on the Philosophy for Life blog:

Crowley’s Children

A couple of weeks ago, I wrote a blog-post analysing the video for Blondie’s Rapture, and pointing out the voodoo, occult and mystic symbolism in it. I wondered if Blondie were into that sort of thing, or perhaps I was seeing things. It turned out they were, and one of them – the bassist Gary Lachman – had even become a historian of the occult.

I met up with Gary in the British Library, to ask him about the influence of occult ideas on rock and roll – and particularly the ideas of Aleister Crowley. I’m interested in this because I’m interested in ecstatic states and how we reach them in modernity. Sex, drugs, rock n’ roll, and magic are part of that story. It’s not always a very nice story.

[...]

Crowley was a poster-boy for liberationist philosophy. It makes perfect sense that he would be picked up by rock and roll and later forms of pop music, because in many ways it’s tailor-made to the adolescent sensibility. Think of Jim Morrison’s ‘we want the world and we want it now’, or Iggy Pop: ‘I need more than I’ve ever done before.’ When you’re young you want to throw away all constraints on you. Crowley did that his whole life. His whole thing was excess in all directions.’

Liberationists want to liberate themselves from any social hang-ups, which means liberating themselves from traditional morality and even from reason itself. ‘Turn off your mind and float downstream’, as Timothy Leary said and John Lennon later quoted. Leary and other key figures in the 60s saw in Crowley a genius explorer of altered states of consciousness accessed through drugs, music, poetry and sex – just as they were trying to do. His Rite of Eleusis was a blueprint for the acid tests of the 1960s, and the raves of today – which also aim to bypass rational thought and get the audience into trances. [...]

Read the whole thing for embedded links, pics and videos. It was a fascinating read. Crowley's ideas pervade our society through pop culture. And when you see how Crowley ended up, it's not hard to see why many of his rock and roll followers crashed and burned. I love what the author, Jules Evans, says about the conscious and subconscious mind, and how Crowley used it, and the way Jules concludes the article. Good lessons for us all.

Gary Lachman apparently saw through the Crowley philosophy, and wrote a book about him, showing what a flawed man he was. Thank goodness.

Just for the heck of it, here is a video from 1979 of the band Blondie performing the song "Heart of Glass":



I had come across that video recently, and so when I saw Blondie mentioned at the beginning of that blogpost, it drew me in.

And on that same blog, I also enjoyed reading this article, which is an interview with the Bishop of London:

The Bishop of London on Christian contemplation

[...] I have a simple map of spiritual reality. We spend most of our time at the mental ego level, on the surface, with the self negotiating the world around – a self which we have largely manufactured and confected. It is very difficult to get modern people to understand prayer is not just a form of thinking at that level. That’s one of the fundamental errors and difficulties people encounter at the beginning of learning to pray.

At that mental ego level, there are often things of darkness which are unacknowledged. At the end of The Tempest, Prospero says of Caliban, ‘this thing of darkness I acknowledge mine’, but often those dark things are left unacknowledged within us. And much religion is really dangerous and I would say lethal, because it is in effect the surreptitious re-ascent of the bruised ego.

We project parts of ourselves – our anger, all kinds of personal psychic material – into the middle distance, deifying it and conducting a solipsist conversation. God is very often a projection of some of this unacknowledged material.

You can see it very clearly: the God which causes people to smite and slay. Sane religious cultures which have lasted for a very long time have discerned that the real fruits of the spirit are love, joy, peace and various other things. They certainly aren’t homicidal impulses.

So you have the mental ego level – and the adventure of prayer is to go beyond and beneath that – into the psychic zone, in which very often there are gifts of the spirit, charismatic gifts of various kinds – glossolalia, gifts of prophecy, and ecstatic utterance.

There is a great danger in falling in love with yourself once again as a spiritual person, in becoming too intrigued by these things, and to think ‘because I have these things I am a really serious Christian’. There has to be a continued Copernican revolution, and that revolution always turns us outwards in generosity to our fellows and in adoration to God. St Anthony the Great says we must see the Spirit in our neighbour, and love them.

But instead, what can happen when you have notable charismatic gifts, is once again a turning inwards, an admiration of the self. Lucifer the light-bringer fell, because he fell so in love with his own reflection.

And then after the psychic zone, there is what is called the heart, which for the Hebrews was not the blood pump, the heart for the Hebrews was the vitals, where the spiritual centre was actually located. And once you were quiet enough and had been educated by silence and stillness, and had gone through this journey, from time to time, you tasted from the eternal well-spring that there is at the heart of every life and all life, where the spirit is already there and praying in ways we can’t understand. [...]

The bold emphasis is mine. I found it interesting that, even though this is a different subject from the Crowley article, there are some parallel ideas expressed, about where people go wrong in looking for happiness. Not everyone finds happiness in the same way, but among the ways they do, there are often core ideas, realizations and truths, even inside of seemingly different philosophies. The perennial philosophy in philosophy, which is one of my favorite areas of interest.
     

A Blast from the Past: "Mountain Music"

It's been described as a warning against too much technology too fast, but I think it can also be interpreted as "where much of modern music went wrong".



source: Classic Will Vinton- Mountian Music

It's not that electronics in music is bad. But how you use it, makes all the difference. If you use technology to increase volume and sound power and generate a lot of inharmonious noise, it ceases to be music, in my opinion. And inharmonious noise CAN be destructive.

I remember seeing this movie by Will Vinton in my film studies class. It made a lasting impression. I even attempted clay animation at school. I sometimes wish I had pursued it further, but the fact is it takes a lot of patience. At least it did in those days, animation was not computerized, and everything had to be done by hand. And claymation was still a very new artform.

Will Vinton, an Oregon native, went on to do a lot of interesting things. He persevered with clay animation when most people were dismissing it as too unwieldy and difficult to work with. He created the term "claymation", and was very active in refining and developing it as an artform. Most people would recognize his work in TV commercials for California Raisins, and M&M's.

Also see:

Wikipedia: Will Vinton

WILL POWER: INTERVIEW WITH CLAYMATION PIONEER WILL VINTON

     

If cosmic rays could play classical music instruments...

Oh, wait a minute! They can:

NASA Moon Probe Broadcasts Space Weather Symphony Live Online

A NASA probe orbiting the moon is broadcasting live cosmic tunes from a computer near you.

NASA's Lunar Reconnaissance Orbiter (LRO) has a new internet radio station for people who want to check out space weather through music. Operating in real time — as long as the craft isn't behind the moon — the station plays music that changes in pitch and instrument based on how much radiation the spacecraft experiences.

"Our minds love music, so this offers a pleasurable way to interface with the data," project leader Mary Quinn of the University of New Hampshire, Durham, said in a statement. "It also provides accessibility for people with visual impairment."



Cloudy, with a chance of B-flat

Launched in 2009, LRO orbits the moon as it maps its surface. The craft carries with it a Cosmic Ray Telescope for the Effects of Radiation, or CRaTER. Six detectors on the instrument measure the radiation from solar activity and galactic cosmic rays.

The detectors measure how many energetic particles are registered each second and sends the information to CRaTER Live Radio, where software converts the measurements into pitches in a four-octave scale. Six pitches are played each second — one for each detector. Low pitches indicate high activity, while higher pitches indicate lower counts.

As activity increases, the musical instruments scale as well. The main instrument at the lowest level of activity is a piano. Two instruments up, it becomes a marimba. Further activity is indicated by a steel drum or a guitar, while the peak of normal activity is indicated by the strum of a banjo.

During the course of a significant solar event such as a solar flare, radiation activity may exceed the normal operating range. In such a case, the software creates a second operating range with the piano at the bottom and banjo at the top, but the background violin and cello scales. A drop in pitch for the background instruments indicates a move to the secondary range.

24-hours of space tunes

LRO broadcasts 24 hours, and is live at all times except when the craft travels behind the moon. During this blackout period, the station reuses the previous hour's activity, changing the sound of the background bongo drum and muting the chiming triangle.

The process, known as sonofication, converts data into sound and has been utilized in a number of fields on a variety of missions, including Voyager 1, Voyager 2 and Kepler. [...]

The actual website you can listen to it on live, is here:

CRaTER Live Internet Radio Station Sonification/Music Design

Give the page a minute or two to load. In the upper left hand corner is a sound bar that controls the music, it should start playing automatically. The site has a lot of detailed information about how it all works.

I've checked it out a few times. The "Music" is probably more ambient than musical, though it can vary a considerable degree, depending on the space weather. Sometimes it sounds more pleasant than others.

Your mileage may vary! ;-)


     

A bit of Christmas Spirit...

... with a Western twist.

Wishing You an Old Fashioned Christmas! from Jared Foster on Vimeo.

     

Farewell, Eydie Gorme

Popular singer Eydie Gorme dead at 84

Eydie Gorme, a popular nightclub and television singer as a solo act and as a team with her husband, Steve Lawrence, has died. She was 84.

Gorme, who also had a huge solo hit in 1963 with “Blame it on the Bossa Nova,” died Saturday at Sunrise Hospital in Las Vegas following a brief illness, according to her publicist, Howard Bragman.

Gorme was a successful band singer and nightclub entertainer when she was invited to join the cast of Steve Allen’s local New York television show in 1953.

She sang solos and also did duets and comedy skits with Lawrence, a young singer who had joined the show a year earlier. When the program became NBC’s “Tonight Show” in 1954, the young couple went with it.

They married in Las Vegas in 1957 and later performed for audiences there. Lawrence, the couple’s son David and other loved ones were by her side when she died, Bragman said.

“Eydie has been my partner on stage and in life for more than 55 years,” Lawrence said. “I fell in love with her the moment I saw her and even more the first time I heard her sing. While my personal loss is unimaginable, the world has lost one of the greatest pop vocalists of all time.”

Though most recognized for her musical partnership with Lawrence, Gorme broke through on her own with the Grammy-nominated “Blame it on the Bossa Nova,.” a bouncy tune about a dance craze written by the Tin Pan Alley songwriting team of Barry Mann and Cynthia Weil.

Gorme would score another solo hit in 1964, this time for a Spanish-language recording.

Gorme, who was born in New York City to Sephardic Jewish parents, grew up speaking English and Spanish. When she and her husband were at the height of their career as a team in 1964, Columbia Records president Goddard Lieberson suggested that Gorme put that Spanish to use in the recording studio. The result was “Amor,” recorded with the Mexican combo Trio Los Panchos.

The song became a hit throughout Latin America, which resulted in more recordings for the Latino market, and Lawrence and Gorme performed as a duo throughout Latin America.

“Our Spanish stuff outsells our English recordings,” Lawrence said in 2004. “She’s like a diva to the Spanish world.” [...]

Wow, I had no idea. Read the whole thing, they had a pretty interesting life together.

R.I.P. Eydie.

Popular singer Eydie Gorme dies at 84

Here is a photo from 1998:

   

"Romancing The Wind"

"Romancing The Wind" - Ray Bethell

Ray Bethell performs a kite ballet to Flower Duet from Lakme by Delibes.

     

Rita Hayworth is "Stayin' Alive"

We recently got DSL at our house. No more "FAP" usage to worry about, and now we can watch video in real time too. Hooray!

My dad sent me a link to this video. I thought about it tonight, because the song "Stayin Alive" was mentioned at my CPR class tonight (because it has the right 'beat' for doing CPR!).

It made me think of Rita, and I've wanted to post this for a while now, because she was a fabulous dancer. And these dance moves are timeless.
     

Song will Premiere Broadcast from Mars

NASA, will.i.am to Premiere Song Live From Mars

Black Eyed Peas co-founder William Adams, a.k.a. will.i.am, is working with NASA on an interplanetary stunt with chart-disrupting implications—the musical artist's new single "Reach for the Stars" will premiere live from the surface of Mars via the space agency's Curiosity rover.

"Reach for the Stars" will be broadcast by Curiosity at 4 p.m. on Tuesday, NASA said in a statement. Curiosity, the largest automated mobile lab NASA has sent to the Red Planet, touched down on Mars on Aug. 5 after more than eight months in space.

The premiere of the song will coincide with an event at NASA's Jet Propulsion Laboratory (JPL) in Pasadena, Calif., mission control for the Curiosity expedition. Fans will be able to tune into the premiere of "Reach for the Stars" online via NASA TV, which will stream the broadcast live.

Will.i.am, through his i.am.angel Foundation, is also working with NASA and Discovery Education, a developer of digital educational resources, to push a new science, technology, engineering, arts, and mathematics initiative leveraging Curiosity and other NASA probes, the agency said.

The singer has taken a keen interest in science and technology in recent years. Named "director of creative innovation" by Intel in early 2011, will.i.am has participated in the FIRST Robotics Competition for high school students and has discussed starting a car company.

In one interview on the red carpet, (video below) he said: "The world doesn't need another musician. They need another Bill Gates." [...]

Kewl!    

Musical Education for Formerly Deaf Man

Deaf man with new hearing aid hears music for the first time, asks, ‘What I should listen to next?’

Austin Chapman says he was "born profoundly deaf" and has "never understood" music--or the people moved by it.

"My whole life I've seen hearing people make a fool of themselves singing their favorite song or gyrating on the dance floor," Chapman, a 23-year-old filmmaker, wrote in a post on his studio's blog. "I've also seen hearing people moved to tears by a single song."

"[It] was the hardest thing for me to wrap my head around," he continued. "All music sounded like trash through my hearing aids."

But that changed earlier this week, Chapman says, when he tried a new pair of hearing aids for the first time in years:

I sat in the doctor's office frozen as a cacophony of sounds attacked me. The whir of the computer, the hum of the AC, the clacking of the keyboard, and when my best friend walked in I couldn't believe that he had a slight rasp to his voice. He joked that it was time to cut back on the cigarettes.

That night, a group of Chapman's close friends "jump-started" his musical education" with a crash-course: Mozart, the Rolling Stones, Michael Jackson, Sigur Ros, Elvis and Radiohead.

When Mozart's "Lacrimosa" came on, I was blown away by the beauty of it. At one point of the song, it sounded like angels singing and I suddenly realized that this was the first time I was able to appreciate music. Tears rolled down my face and I tried to hide it. But when I looked over I saw that there wasn't a dry eye in the car. [...]

I found "Lacrimosa" on YouTube, and it's lovely. I also found "Radiohead". ACCCCHHH! There is no comparison. The two must not even be used in the same sentence! But they frequently are. Welcome to our Brave New World.

Read the rest of the article to find out the further advice he was given for his musical education.

Is the New ABBA Song, the Angel Song Demos?

There has been lots of Buzz about a new ABBA song being released in April, when the new Deluxe version of their "Visitors" Album is reissued. But I don't think it's really an actual song. Sounds more like a mixture of experiments:

ABBA – The Visitors Deluxe Edition CD with previously unreleased demo medley

Wonderful news! ABBA’s last studio album The Visitors is to receive the ‘Deluxe Edition’ CD treatment. As with previous releases in the Deluxe Edition series, this version of ABBA’s final album offers a DVD of archive material along with CD bonus tracks.

Notably, it includes (what sounds like it could be a musical journey through the evolution of Like An Angel Passing Through My Room) a demo medley called From A Twinkling Star To A Passing Angel, the first previously unreleased ABBA recordings since 1994! [...]

We'll see when it comes out. I looked up their song "Like An Angel Passing Through My Room" on Wikipedia, and found this:

"Like an Angel Passing Through My Room" by ABBA is the closing track from the group's final studio album, The Visitors. It was written by Benny Andersson and Björn Ulvaeus.

Work began on this track on 26 May, 1981 in Polar Music Studios. [1] At first, the track was given the title, "Another Morning Without You". In later recording sessions it was re-titled "An Angel Walked Through My Room", "An Angel's Passing Through My Room" and also "Twinkle Twinkle". At one point the song was turned into a disco track but this idea was eventually abandoned as the group felt it sounded too similar to "Lay All Your Love on Me".[2] Initially the track featured vocal parts from both Agnetha Fältskog and Anni-Frid Lyngstad but the final version of the song featured Anni-Frid as soloist. It is the only ABBA song to feature just one vocalist. [3]

Unlike many other ABBA songs, the final mix of the track was sparsely produced - the entire track consisting of the soloist's vocals, synthesized strings, and a music box melody (also synthesized). The sound of a ticking clock, also heard throughout the track, was produced by Andersson's MiniMoog.

The designer of the album sleeve for The Visitors, Rune Söderqvist, was partly inspired by this song's theme when he conceived the idea of photographing the group standing before Julius Kronberg's painting of an angelic-looking Eros.[4] [...]

Read the whole thing for embedded links and more information.

The song as it exists right now, is quite nice. Below is a YouTube of the song, with photos of Freida (Lyngstad). Below that, I've posted the lyrics. Enjoy.


(Lyrics from azlyrics.com)

"Like An Angel Passing Through My Room"

Long awaited darkness falls
Casting shadows on the walls
In the twilight hour I am alone
Sitting near the fireplace, dying embers warm my face
In this peaceful solitude
All the outside world subdued
Everything comes back to me again
In the gloom
Like an angel passing through my room

Half awake and half in dreams
Seeing long forgotten scenes
So the present runs into the past
Now and then become entwined, playing games within my mind
Like the embers as they die
Love was one prolonged good-bye
And it all comes back to me tonight
In the gloom
Like an angel passing through my room

I close my eyes
And my twilight images go by
All too soon
Like an angel passing through my room

I read somewhere, that it was the very last song that ABBA ever recorded.


Also see:

Abba's Agnetha speaks out: "I'm no recluse"
     

Doris Day's New Album: "My Heart"

New, as in newly released recordings. Some songs that I've never heard her sing before, and some I've never heard before at all. I placed a pre-order on Amazon.com, and it shipped on the release date. It arrived recently:


My Heart

2011 album from the veteran entertainer. This is Doris' first studio album of new material in 17 years; a dozen songs of a timeless quality, with nine brand-new recordings produced by top UK record producer Ted Carfrae from sessions originally produced by Day's late son, Terry Melcher plus a trio of Day classics.

Doris Day has been fully involved with the musical selections for this special release. Her son Terry Melcher--who was known as a songwriter and producer for folk-rock pioneers The Byrds and other artists--co-wrote four of the new songs with Beach Boys member Bruce Johnston: the emotional title track "My Heart," the romantic "The Way I Dreamed It," the haunting "Happy Endings" sung by Melcher with a newly recorded spoken-word introduction by Day for her fans and the single release "Heaven Tonight."

Also on the set list are three classic rock-era favorites: Joe Cocker's ballad "You Are So Beautiful", the Lovin Spoonful's joyful 1966 hit "Daydream" and The Beach Boys' nostalgic "Disney Girls," the latter written by Bruce Johnston, who co-produced three of the recordings on the album. Sony.

We played it the first time, during dinner. At first, I was kind of shocked; the songs at the beginning were done in the modern pop-music style; not what I'm used to hearing Doris sing. But the styles changed as the album progressed, with some real surprises and treats. She dedicated one song, "My Buddy" to her son Terry, who died of complications of melanoma in 2004.

She explained (on the disc!) how he had been her "buddy" in so many ways, and how he had been a singer in his own right. She then introduced the next song, sung by Terry, called "Happy Endings".

There wasn't a dry eye at the dinner table; it was very moving.


All things considered, it's a great and varied collection, demonstrating her range of styles. A few of the songs alone were worth the price of the album.

After hearing Terry sing, I became curious about his work and his life, so I did some searching on Google.

Terry's Wiki Page had quite a bit of information. But I also found another page on a blog, written about him by someone who knew him. It had some interesting comments, and a picture of him from a record sleeve:



Terry Melcher Remembered

It was in the early 1960s when I found myself sitting at a baby grand piano in a beautiful but unfamiliar home in Beverly Hills going over some new songs I'd written. I recall being nervous as I played because I couldn't help but realize somewhere nearby was Doris Day, one of the most popular entertainers in the country at the time. Just like a million other guys, I had a crush on the lady and was fearful that at any moment she might choose to speak to me.

Actually, the reason I was there was not because of Doris Day, but because of her young son, Terry Melcher, whom I'd met a few days before. I had recently been discharged from serving a two year stint in the Army and was trying to get back in the music business when a mutual friend introduced us. Terry seemed impressed by the fact that, during the late 1950's, I had been lucky enough to have some success as a songwriter, having my songs recorded by popular stars of the time such as Russell Arms, Jimmy Darren, Ritchie Valens, Yvonne De Carlo, and Gail Robbins, among others.

Because of my past success and our mutual interest in the music business, Terry and I hit it off almost immediately. He was good looking, rather tall with light skin and looked like a typical Southern California surfer. He also struck me as being very mature for his 18 years and, although I was about seven years older, we seemed to enjoy a compatible sense of humor as well as our passion for music. After we chatted for a while about the popular songs of the day, he asked me if I'd come over to his house so we could practice singing some of my songs and hang out together. I was happy to accept his invitation.

A few days later we were in Terry's den, sitting at his piano and going over some of my material. It didn't take me long to recognize he had a very good ear for music. He would easily harmonize to my singing and seemed to have near perfect pitch. Up to that time we were just fooling around but then I asked him if he ever thought about recording as a vocalist. He seemed to be excited at the suggestion and, after a moments pause, he said he liked the idea of performing on a record. He immediately added he'd be glad to finance it and, since he knew I had already done some independent record producing, asked if I would handle the production.

The next day I hired my friend Jack Nitzsche as my arranger and asked him to call my favorite studio musicians to play the background, including Hal Blain, Leon Russell, Carol Kaye, and Glen Campbell. I then booked a three hour session with Stan Ross at Gold Star recording studios where I produced almost all my records. It was just that easy. Terry and I had selected a song of mine to record entitled "That's All I Want". It was an upbeat rock tune that had a powerful built-in arrangement for a back-up vocal group. Jack also liked the song and did a great horn arrangement that added immensely to the final result. The basic sound track started out with a strong combination of horns and voices and then settled into a driving drumbeat. As I recall, Jack's wife Gracia was one of the female background singers as well as Darlene Love and a couple of other friends. There just seemed to be so much talent around in those days. [...]

Terry gets a copy of the record and brings it home to his parents, and... well, read the whole thing; it's a charming story. A real treat for anyone who's interested in the old days of the music biz.


UPDATE: I've been reading more about the My Heart album and it's release. Many of the songs were recorded around 1985, to be used in Doris' cable TV talk show, Doris Day’s Best Friends on CBN. The show only had 26 episodes, but there was a wealth of music recorded for it.

And the good news is, it looks like there are even more original recordings that could be released in the future. Goody!


Also See:

Rock legend Bruce Johnston recalls his buddy Terry Melcher & working on songs from Doris Day’s latest album “My Heart”

Doris Day Opens The Vaults For “My Heart” and There’s Plenty For Beach Boys Fans
     

THE PRAYER CYCLE... a eulogy for the 20th century ...a prayer for the 21st...

On Sundays, the Music from the Hearts of Space website lets listeners hear the featured weekly program for free. This week, they are repeating a program, a Choral Symphony, that has been selected to commemorate the 10th anniversary of 9-11.

PGM 605 : "TERROR AND HOPE"
PGM NOTE : remembering 9/11 with 'The Prayer Cycle'
FIRST BROADCAST : 21-Sep-2001

INTRO : This week we mark the 10th anniversary of the historic attacks on the U.S. on September 11, 2001. Memory of traumatic events changes over time; while others will be recounting the facts and events of that day...we will recall some of the feelings it provoked by repeating a special program from the following week. Even after 10 years, the wound remains tender, the fear it created remains present, and the hope for a better world remains a vision and a prayer.

It was an epoch-defining event that temporarily rendered everything else insignificant. Even our ordinary diet of violent media had not prepared us to comprehend the implacable hatred and disregard for life/ of this phantom enemy. Perhaps no single act in American history has raised more questions, more emotions, more tears.

In the weeks following the attacks, as we arose from our pain and began to move forward, we remained poised on the edge of catharsis — and it is in that spirit that we bring you a program called TERROR AND HOPE.

If spring is the season of hope, then it is fitting that in the spring of 1999, in advance of the Millenium, Sony Classical released a choral symphony by New York composer JONATHAN ELIAS, titled THE PRAYER CYCLE. As we did in 1999, this week we devote the entirety of Hearts of Space to this extraordinary music. But this week, it will sound different, feel different, and will have a different meaning.

JONATHAN ELIAS began writing THE PRAYER CYCLE in the period immediately before the birth of his first child. "I was excited by the possibilities for my child," he says, "but I also felt anxiety and sadness about the world she was about to enter. With all the wondrous advances of mankind, it was painful to acknowledge the other defining characteristic of the 20th century, which is more calculated and cold-blooded than any other period of recorded history. Is man's inhumanity to man as common in our nature as other forms of survival? With these thoughts and concerns, I began to write 'The Prayer Cycle.'"

The effect of this brilliant multi-cultural, multi-language production is extraordinarily powerful and appropriate. "Prayer," says composer Elias, "is what we turn to when the only thing we have left...is hope."

JONATHAN ELIAS' THE PRAYER CYCLE... a eulogy for the 20th century ...a prayer for the 21st... and a plea for a world where we have no choice but to get along — because anything else is unthinkable. TERROR AND HOPE...on this edition...of Hearts of Space.

It's described in further detail at Amazon.com:


The Prayer Cycle

Editorial Reviews

Amazon.com
It is with primitive urgency and lustrous clarity rising like flickering embers from a fire that Jonathan Elias's ambitious Prayer Cycle is given voice. Woven together like knotty wool, silk, and fine strands of silvery water, the disparate yet complementary voices of the late Nusrat Fateh Ali Khan, Alanis Morissette, Yungchen Lhamo, Ofra Haza, the American Boychoir, Salif Keita, and others intertwine in multiple languages with the superb English Chamber Orchestra and Chorus. Prayers of supplication, gratitude, and longing build in layers, one on top of and 'twixt and 'tween the other, as movements titled "Mercy," "Grace," "Innocence," "Compassion," and the like. Remarkably, Elias's Prayer Cycle eloquently captures the ecstasy, pain, grief, and sublime beauty of humanity--as he simply and poignantly writes in his liner notes, "The world we live in is both joyous and cruel." --Paige La Grone

Then there is this, from one of the Amazon.com customer reviews:

"If this does not move you, then you have no soul."

I first heard this as part of a radio program on the local NPR station, and was shamed into silence. The diversity of collaborators in this work (including US folk-rocker James Taylor, Yemenite singer Ofra Haza, Canadian rocker Alanis Morissette, the late Musrat Fateh Ali Khan [one of his last performances], the American Boychoir w/Devin Provenzano, the English Chamber Orch. & Chorus) shows the great number of fields that composer Jonathan Elias was drawing from.

The song "Hope" will lift your spirit, while James Taylor's melancholy vocals on "Grace" will move you to tears (At first, I thought he would be horribly out of place, but his voice fits the work perfectly!). The lyrics run all over the map in language. There are lyrics in Urdu, Mali, Latin, English, French, Italian, Hungarian, Dwala, Tibetan, German, Spanish and Hebrew, but they are listed in English in the CD booklet. I gather this is Elias' way of uniting the world. The lyrics are prayers, laments and pleas for forgiveness. The themes are loneliness, war and regret.

The style of music is definately classical, but does not limit itself to European roots. There are distinct influences from Africa, the Orient, and even various tribal nuances. For someone who was raised on European Classical music, it may be a shock to the system, but it works, and it is wonderful!

I forsee this recording to be one of the hand-picked few that future generations will draw upon for inspiration. As we as a people on this planet become closer, our world seems to become smaller. Our hopes, dreams, and cultures begin to overlap. This recording is proof that, when skillfully co-ordinated they can create incredible harmony.

Highly, highly reccomended.

I love Choral music. This reminded me of Carmina Burana, which was also a multi-language choral work in the classical style, though I think Prayer Cycle goes further, by blending in non-classical styles as well. It reminds me of some of the "World Fusion Music" I've heard, which is a growing music genre.

Perhaps this is a glimpse of what is going to be the future of classical music in our Brave New World? Only time will tell.

The song list for Prayer Cycle on Amazon looks slightly different than the one on the Hearts of Space website. There may be different versions. The one at Hearts of Space is available to hear in full for free, but today only.