Piano World Home Page Forums Our Most Popular Forums Adult Beginners Forum Rostoskys serious thread. (by request)

That's odd! I've just checked my bank statements - I don't see my commission.

I saw you!
Quite intrigued by this duo performing together...(but I still don't like the "sir")

Bikers arrive , kick the jukebox to make the record jump till the end, and put this on instead... everyone happy.

dont fear the reaper...

Odd jukebox... all I wanted was some Jimi Hendrix.

I bought Blondie's Greatest Hits myself just a week or two ago and these guys:

The cars excellent...... I am off to find my favourite cars tracks... ooh heartbeat city.. oh yes.

sorry, about the jukebox, I just really dont get on with elton john, for a couple of personal reasons.

Live at ,well live aid.... The cars , heart beat city...

To the best of my knowledge, no one has posted anything By brian ferry, unless I forgot something from ages ago...

Anyways, the silkiest sexiest song ever for seducing the girlies me thinks? Slave to love of course!
most excellent beat.

Anyone else feeling ... mellow?

Driving around before work this afternoon - I only listen to KNBA on the radio. Undercurrents was on. Greg was playing lots of good music as always, including this - mellow and short:

Thank you...the real deal.

Re: Cap'n K:

Also on the jukebox in those days was The Animals:

Three of my favorite songs from the musical movie "Once" (the first one is an Oscar winner):
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hawkwind from 1972 with the "amazonian" (6ft 2) Stacia.

Silver machine...

Nothing posted that is by Ferry, though a few mentions of 'doesn't it sound rather like Roxy'?

Here's a classic from Roxy Music. Recorded at the BBC for The Old Grey Whistle Test in.... 1972! Both Ferry and Eno doing plenty of knob-twiddling, plus some excellent wind from Andy Mackay.

I'll be cooking filet mignon, homemade mashed potatoes, salad + yeast rolls for dinner. Griffin, appropriate music, please?

(not that I didn't enjoy previously posted, esp. the "excellent wind")

Such a lovely menu P.J.!! I think there should be some tasteful trumpet music to get things off to a nice start. I recommend this Trumpet Concerto by Michael Haydn. Consider this your first course for dinner music!

Leaving on a Jet Plane? I might be booking a sudden flight to Florida! Mmm, filet mignon!

My, what a busy night we've been having!

Sorry about the bespectacled knight on the joanna. Notes have been taken!
(That doesn't mean I won't push him on the juke box again, it means I'll post with caution.)

As compensation, or for those with a few spare minutes, or even just looking for something to read while listening, here's some Science on Sunday to entertain.

After the explosion of Rock'n'Roll in the fifties and the rise of the electric guitar and the back beat, all the big names disappeared for various reasons and left a gaping hole.

Buddy Holly was killed, Carl Perkins nearly was, Presley was drafted, Check Berry was jailed, Little Richard found religion, Jerry Lee Lewis had to lie low, and in the UK Gene Vincent and Eddie Cochran had one taxi ride too many. Rock 'n' Roll was dying.

Apart from the Big O and Phil Spectre there was very little of musical interest (like the gap between Bach and Mozart). The twelve-bar three-chord-trick was still around but the I-vi-IV-V was all pervasive with it's doo-wop equivalent I-vi-ii-V.

And then, in the northwest corner of England there came a new sound...

Soon the names of individuals at the top of the charts would be replaced by the names of groups, but more importantly, with new music. The Beatles joined pop to Rock'n'Roll and gave us what we now call 'Rock'.

Like Bach and Beethoven before them, they are of their time. Their like never can, and thus never will, be seen again.

After a storming UK hit with She Loves You, making use of a ground-breaking progression, I-vi-iii-V, their characteristic whoops on the dominant and its ending on the major sixth, it is still The Beatles' biggest selling UK single.

And then came the song that brought America to its knees. I Want To Hold Your Hand used the progression from She Loves You and twisted it to I-V-iii-vi. How on earth do you get back to tonic from this? To understand how ground breaking this was, try playing both songs to a standard G-Em-C-D progression and see how bland (and fifties sounding) they become.

For the bridge in I Want... instead of moving to the sub-dominant chord they actually modulated to the sub-dominant key of C and offset the standard I-vi-ii-V into ii-V-I-vi, Dm7-G7-C-Am. They repeated this up to the C and just when you think it's going to fall to Am again, it rises to D major, the dominant of the tonic G!

It's so compelling they repeat it, C-D-C-D, and then linger on the D with a shuffling 6th. This is so exciting they used it for the intro hook. The anticipation of and return to tonic is captivating. (A similar though small example of the Beethoven 7th symphony I posted a few days ago).

And once again The Beatles actually craft a finish instead of relying on a lazy fade-out. True performers!

Magic!