One Improv and Four Covers (2013Aug27)

XperDunn plays Piano
August 27th, 2013

Improv – Shangri – La

 

Well, I think this is my best effort on these favorites from my “Complete Carpenters” for solo piano and voice book–these are the treacliest and most banal of their repertoire–only a real sap has any chance of enjoying those 4 recordings  of their repertoire (which fortunately includes me). I defy you to sit through all four–it can’t be done.

 

 

XperDunn plays Piano
August 27th, 2013

4 Covers of ‘Hits by The Carpenters’:

(1.) “(They Long To Be) Close To You”

(2.) “Rainy Days and Mondays”

(3.) “Yesterday Once More”

(4.) “Sing”

 

“(They Long To Be) Close To You” (2013Aug27)
Words by Hal David. Music by Burt Bacharach

“(They Long to Be) Close to You” is a popular song written by Burt Bacharach and Hal David. The version recorded by The Carpenters, which became a hit in 1970, is the best known.

In 1970, it was released by Karen and Richard Carpenter on their album Close to You, and it became their breakthrough hit. The song stayed at number one on the Billboard Hot 100 for four weeks.

With “(They Long to Be) Close to You”, The Carpenters earned a Grammy Award for Best Contemporary Performance by a Duo, Group or Chorus in 1971. It became the first of three Grammy Awards they would win during their careers.

(c) 1963 by U.S. Songs Inc, USA
——————————————
“Rainy Days and Mondays” (2013Aug27)
Words by Paul Williams. Music by Roger Nichols.

From Wikipedia, the free encyclopedia: “Rainy Days and Mondays” is a 1971 song by The Carpenters that went to #2 on the Billboard Hot 100 chart and it was the duo’s fourth #1 song on the Adult Contemporary singles chart. However, the song failed to chart in the United Kingdom until it went to #63 in a reissue there in 1993. “Rainy Days and Mondays was certified Gold by the RIAA.

The song was composed in 1971 by then fairly unknown composers Roger Nichols and Paul Williams. It was released as the first track on the album Carpenters. The B-side on the single is “Saturday”.

(c) 1970 by Almo Music Corp., USA

“Yesterday Once More” (2013Aug27)
Words by John Bettis
Music by Richard Carpenter

From Wikipedia, the free encyclopedia:
“Yesterday Once More”, written by Richard Carpenter and John Bettis, is a hit song by The Carpenters from their 1973 album Now & Then. Composed in the key of E, “Yesterday Once More” features a long middle section, consisting of eight covers of 1960s tunes incorporated into a faux oldies radio program. The work takes up the entire side B of the album.

The single version of the song peaked at number 2 on the Billboard Hot 100 chart becoming their 5th number two hit and making them the act with the second most number two hits on the chart behind only Madonna. The song also peaked at number 1 on the easy listening chart, becoming their eighth number 1 on that chart in four years.

It is the Carpenters’ biggest-selling record worldwide and their best-selling single in the UK, peaking at number 2. Richard Carpenter admitted on a Japanese documentary that it is his favorite of all the songs he’s written. He has performed an instrumental version at concerts. According to Cash Box, on June 2, 1973, “Yesterday Once More” was the highest-debuting single at No. 71. By August 4, it had reached No. 1.

(c) 1973 by Almo Music Corporation / Hammer and Nails Music, USA

“Sing” (2013Aug27)
Words & Music by Joe Raposo.

From Wikipedia, the free encyclopedia:
“Sing” is a popular song created for Sesame Street that gained popularity when performed by The Carpenters, who made it a #3 hit on the Billboard Hot 100 chart in 1973.

“Sing” was written by Joe Raposo, the staff songwriter for the popular children’s TV show Sesame Street. In its initial appearance, the song was sung by adult human cast member, and Muppets, including Big Bird. “The Kids” sang “Sing” for The Sesame Street Book & Record, a recording re-released on the 2003 Songs from the Street CD set.

Karen and Richard Carpenter heard the song for the first time as guests on ABC television special Robert Young with the Young in 1973. The Carpenters loved the song and said in retrospect that they knew it would “be a hit”. Their associates thought they were “nuts”.

The song acted as their debut single from the LP album Now & Then, released in 1973. “Sing” reached number three on the Billboard Hot 100 chart and number-one on the easy listening chart, and it became the group’s seventh gold single.

Their recording of the song was produced and arranged by Richard Carpenter, and engineered by Ray Gerhardt. The lead vocal was sung by Karen Carpenter, with backing vocals by Karen and Richard Carpenter and the Jimmy Joyce Children’s Choir. Keyboards were by Richard Carpenter, bass by Joe Osborn, drums by Karen Carpenter, and recorders by Tom Scott. In 1974, while touring Japan, The Carpenters recorded their first live album in Osaka.

The album contained a new version of “Sing” with the children’s chorus sung by the Kyoto Children’s Choir. The song is featured on the album Live in Japan which was recorded in June 1974 and released in Japan only on March 7, 1975. This album has since been released on CD and is available as an import.

(c) 1971 by Jonico Music Corp., USA
All Rights Reserved
International Copyright Secured

 

————————————————-

All the above has been cut and pasted

From Wikipedia, the free encyclopedia

Once again, many thanks to my cousin, Lisa, for the use of her photo of their 2006 Meridian-408 Motoryacht.

A Song, An Improv, & An “Are You Dunn?” Addendum….

A Song,

An Improv,

& An “Are You Dunn?” Addendum….

click to Play my YouTube Video

XperDunn plays Piano
August 25th, 2013

Cover of the Carpenters’ single, “Goodbye to Love”.

From Wikipedia, the free encyclopedia

[“Goodbye to Love” : Single by The Carpenters from the album “A Song for You”, Released on June 19, 1972, Label A&M #1367 / Writer(s) Richard Carpenter; John Bettis / Producer Jack Daugherty

“Goodbye to Love” is a song composed by Richard Carpenter and John Bettis. It was released by The Carpenters in 1972. On the “Close to You: Remembering The Carpenters” documentary, Tony Peluso stated that this was one of the first, if not the first, love ballads to have a fuzz guitar solo.

While visiting London, he saw a 1940 Bing Crosby film called “Rhythm on the River”. Richard Carpenter noticed that the characters kept referring to the struggling songwriter’s greatest composition, “Goodbye to Love”. He says, ‘You never hear it in the movie, they just keep referring to it,’ and he immediately envisioned the tune and lyrics starting with:
I’ll say goodbye to love
No one ever cared if I should live or die.
Time and time again the chance for
Love has passed me by…

He said that while the melody in his head kept going, the lyrics stopped “because I’m not a lyricist”. He completed the rest of his arrangement upon his return to the USA.]
——————————————

click to Play my YouTube Video

XperDunn plays Piano
August 25th, 2013

Improv – Goobers
(music fades out instead of ending–the result of a dead battery-sorry.)

Start and End Cards source: http://www.winslowhomer.org/hound-and-hunter.jsp

Homer’s watercolor sketch for Hound and Hunter showed, lying behind the boy, a rifle that the artist later painted out. When this final canvas was exhibited in 1892, its subject was condemned as a cruel sport then practiced in the Adirondacks. Some viewers believed the youth was drowning the deer to save ammunition. The artist curtly responded, “The critics may think that that deer is alive but he is not—otherwise the boat and man would be knocked high and dry.”

To clarify that the stag is already dead and no longer struggling, however, Homer did repaint the churning water to hide more of the animal. The hunter, therefore, simply ties up a heavy load, calling off the hound so it will not jump into the boat and swamp it.

Homer once asked a museum curator:
“Did you notice the boy’s hands—all sunburnt; the wrists somewhat sunburnt, but not as brown as his hands; and the bit of forearm where his sleeve is pulled back not sunburnt at all? I spent more than a week painting those hands.”
——————————————

Sunday, August 25, 2013            4:06 PM

“Are You Done?” (Cont’d):

I am aware that the previous ‘essay’ (if I may use that word) was both ludicrous and without any substantive ideas for moving forward. I think one point I attempted to make is that People have to wake up to the very powerful forces being arrayed against them at present. And that civil-rights-oriented and community-activity-oriented crowd-sourcing is a very promising new tool that we can either use or have used against us—our choice.

The other point, the main idea I wished to illustrate, was that individuals are wooed by many associations and organizations, including political parties, multi-national corporate giants, and banks—and that the only organization intended for our own self-interest, the federal government, being so wrapped up by capitalized and specialized interests, has ceased to perform that function. And that leaves us with only two choices.

We either have to wrest control of our government back towards the protection of civil rights and the providing of social services, or we have to find some way to sidestep those ‘clogged arteries’ and create an organization outside of government. I had intended to mention, further, that such an organization, by virtue of the digital revolution, and what may be called the enhanced social conscience of our society here at the start of century twenty-one, would operate so much more efficiently, cost-effectively, and speedily that the existing government would be pulled along in its wake, so to speak.

Why do I see this issue in this way? That’s easy—because we have already learned that Authority is not a ‘God-given’ right, such as monarchs used to claim; neither is Authority a prerogative of the wealthy, such as the wealthy have been used to claiming; nor is dogma an Authority, as religious extremists persist in insisting. Authority is a necessary evil, plain and simple—someone has to be in charge to enable groups to create something greater than what they could do as a disorganized group of individuals.

And that greater creation, or ‘progress’, if you will, is always a source of Power to those in authority. Power is an addictive drug which no human has ever been immune to—thus authority inevitably changes its goal from a common good to an entitled elite who skim the cream of organized effort and (usually) begin to work counter to the original common good.

We have attempted, by democracy, by socialism, and by communism, to create a more perfect organization, to put in place checks and balances which restrain, as much as possible, the natural tendency towards corruption in authority, including favoritism, and elitism—but all have been overwhelmed by the constant pressure of those natural human drives. Unfortunately, authority has to reside with someone—so I won’t bother trying to invent a new system that partitions or restrains authority from abuse—it’s like trying to lift yourself by your own bootstraps.

And this is why I have no suggestions as to how to fix ourselves—human society has built-in structural flaws that prevent us from Utopia. The only thing we can hope for is that the Elite become ashamed enough of all the starvation and poverty that they eventually find a way to accommodate the millions of losers in the great game of capitalism. Or, for the truly optimistic, we can hope that our global society matures into something less of a dog pile than it’s always been, and is now. If I had a religion, that would be it—people starting to work just as hard to cooperate with each other as they do now to compete with each other.