By in show blog on Mar 13, 2017 |

Intro (3:00)

"Johnny's Theme" began life as "Toot Sweet", a pop instrumental composed in 1959 by Paul Anka and recorded by Tutti's Trumpets. It was released on Disney's Buena Vista label as the B-side to The Camarata Strings' single "Lost In a Fog"

"Tutti" Camarata, who was Annette Funicello's producer at the time, asked Anka to write some songs for Funicello's first album to follow her work on The Mickey Mouse Club. Anka added lyrics to "Toot Sweet" and published them under the title "It's Really Love", and the song was released as part of Annette Sings Anka. He recorded his own version of "It's Really Love" that same year for the French film Faibles Femmes; it was released on seven-inch Eps in France, Italy and Spain.

When Johnny Carson, a fan of jazz music, was preparing to take over as the permanent host of The Tonight Show starting in October 1962, he recognized that he would need a theme song. Carson and Anka had worked together in England on the television special An Evening with Paul Anka in 1961; when they happened to meet up again in New York City the following year, Carson manager Al Bruno mentioned needing a theme.

Anka created a new instrumental arrangement for "It's Really Love" and sent a demo to Carson and Ed McMahon, who were in Fort Lauderdale, Florida, making preparations for the show. McMahon said "it was the first time either one of us heard [the song]—and magic."

Shortly after sending the demo, Anka received a telephone call and was told that Tonight Show bandleader Skitch Henderson was angry because Carson wanted to use a theme song written by "a 20-year-old kid". Anka said he then offered to let Carson write and publish new lyrics in order to claim a songwriter's credit, along with half of the royalties every time the song was played. Those lyrics were never used on the show. Anka estimated that "Johnny's Theme" was played live on Carson's Tonight Show more than 1,400,000 times over the course of 30 years. As its original composer, Anka also was paid each time the song was broadcast, earning each man an average of about US $200,000 per year.

The song was retired along with Carson in 1992; his iteration of The Tonight Show was called "the last widely public big-band forum". Incoming bandleader Branford Marsalis composed a more "funky" theme for successor Jay Leno because "a swing tune doesn't reflect Jay at all [and] jazz doesn't come to mind either."

The Intro Block Block(10:36)

WKRP in Cincinnati Theme

WKRP in Cincinnati is an American sitcom that featured the misadventures of the staff of a struggling fictional radio station in Cincinnati, Ohio. The show was created by Hugh Wilson and was based upon his experiences working in advertising sales at Top 40 radio station WQXI in Atlanta. Many of the characters and even some of the stories (including season 1 episode 7, "Turkeys Away") are based on people and events at WQXI

Like many other MTM productions, the humor came more from running gags based on the known predilections and quirks of each character, rather than from outlandish plots or racy situations, since the show has a realistic setting. The characters also developed somewhat over the course of the series.

WKRP premiered September 18, 1978 on the CBS television network, and aired for four seasons and 88 episodes through April 21, 1982. During the third and fourth seasons, CBS repeatedly moved the show around its schedule, contributing to lower ratings and its eventual cancellation.

When WKRP went into syndication, it became an unexpected success, despite not reaching the desired number of 100 episodes for daily stripping. (90 half-hour episodes were available for syndication, due to two of the first-run 88 episodes being an hour long.) For the next decade, it was one of the most popular sitcoms in syndication, outperforming many programs which had been more successful in prime time, including all the other MTM Enterprises sitcoms.

WKRP had two musical themes, one opening and the other closing the show. The opening theme, a soft rock/pop number called "WKRP In Cincinnati Main Theme," was composed by Tom Wells, with lyrics by series creator Hugh Wilson, and was performed by Steve Carlisle. An urban legend circulated at the time that Richard Sanders (who had comparable vocal characteristics to Carlisle) had recorded the song. Wilson stated in the commentary for the first season's DVD set that this was simply not true. (Sanders would later "sing" the lyrics in a promo spot on VH1 for The New WKRP in Cincinnati, which parodied the U2 song, "Numb.")

A full-length version of the original theme song was released in 1979 on a 45 rpm vinyl single on the MCA Records label. It peaked at 65 on the Billboard Hot 100 chart in 1981 and at 29 on the Adult Contemporary chart in 1982. The lyrics refer to the life of character Andy Travis.

The closing theme, "WKRP In Cincinnati End Credits," was a hard rock number composed and performed by Jim Ellis, an Atlanta musician who recorded some of the incidental music for the show. According to people who attended the recording sessions, Ellis didn't yet have lyrics for the closing theme, so he improvised a semi-comprehensible story about a bartender to give an idea of how the finished theme would sound. Wilson decided to use the words anyway, since he felt that it would be funny to use lyrics that were deliberate gibberish, as a satire on the incomprehensibility of many rock songs. Because CBS always had an announcer talking over the closing credits, Wilson knew that no one would hear the closing theme lyrics.

Reception – Wings (1979/Back to the Egg)

Back to the Egg is the seventh and final studio album by the British-American band Wings, released in 1979 on Columbia Records in America, and on Parlophone in the UK. Co-produced by Chris Thomas, the album reflects band leader Paul McCartney's embracing of contemporary musical trends such as new wave and punk, and marked the arrival of new Wings members Laurence Juber and Steve Holley. Back to the Egg adopts a loose conceptual theme around the idea of a working band, and its creation coincided with a period of considerable activity for the group, which included making a return to touring and work on several television and film projects.

Recording for the album began in June 1978 and lasted for almost a year. The sessions took place at Spirit of Ranachan Studios in Scotland, Lympne Castle in Kent, London's Abbey Road Studios, and Replica Studio – the last of which McCartney built as an exact replica of Abbey Road's Studio Two when the latter became unavailable. Wings returned to Abbey Road in March 1979 to complete the album, before filming a series of promotional videos in Lympne and elsewhere, for what became the Back to the Egg TV special.

Back to the Egg received unfavourable reviews from the majority of critics, with Rolling Stone magazine deriding it as "the sorriest grab bag of dreck in recent memory". Although the album charted in the top ten around the world and was certified platinum in the United States, it was viewed as a commercial failure relative to previous Wings releases, particularly in light of the generous financial terms under which McCartney had signed with CBS-owned Columbia Records. Of its singles – "Old Siam, Sir", "Getting Closer" and "Arrow Through Me" – only "Getting Closer" made the top twenty in Britain or America. The song "Rockestra Theme", recorded with a cast of guest musicians from bands such as the Who, Led Zeppelin and Pink Floyd, won a Grammy Award for Best Rock Instrumental Performance in 1980.

3 – Legs – Percy “Thrills” Thrillington (197/Thrillington)

Thrillington is a 1977 album produced by Paul McCartney, under the pseudonym of Percy "Thrills" Thrillington. It is an instrumental cover version of Paul and Linda McCartney's 1971 album, Ram. The album was recorded in June 1971 – with McCartney as producer – and with an intended release shortly thereafter. Arranger Richard Anthony Hewson was asked to work on the orchestration before Ram had yet been released. When Paul and Linda decided to form Wings the album was shelved.

In preparation for the release of Thrillington, McCartney invented the fictitious socialite Percy Thrillington, and even took out ads in various UK music papers announcing Thrillington's so-called comings and goings to generate curiosity and interest.

Released in April 1977, McCartney's name was mentioned only in the main liner notes where he is described as a friend of Percy. Thrillington went mostly unnoticed upon its release although it was reviewed by Rolling Stone magazine and mentioned in the "Random Notes" section. It was widely assumed that this was McCartney working under a pseudonym and the album became a collector's item. McCartney finally admitted his role to journalist Peter Palmiere at a Los Angeles press conference on 27 November 1989 during his world tour: "What a great question to end the conference. The world needs to know! But seriously it was me and Linda – and we kept it a secret for a long time but now the world knows! – you blew it!" After the admission, the album nearly tripled in value.

In 1990 Paul McCartney also admitted to Palmiere, via an autograph request, that he was indeed Clint Harrigan – the liner notes writer for Thrillington and Paul McCartney and Wings' Wild Life album. The first person to reveal the identity of Clint Harrigan was John Lennon, who stated as much during a well-publicised letter feud with McCartney in the New Musical Express in 1972.

The full story of the Thrillington album was told in detail in 1995 in Beatles fanzine Good Day Sunshine and in music journalist Ian Peel's book The Unknown Paul McCartney. Peel tracked down various musicians who brought McCartney's vision to life – including Richard Hewson, Herbie Flowers and the Mike Sammes Singers – as well as those that were involved in creating its mythology.

Thrillington was issued on CD in 1995 and 2004. No accompanying vinyl version was made available on either occasion. It was also reissued as part of the deluxe edition of Ram on 21 May 2012. To coincide with this release, McCartney started a Twitter account under the Thrillington name, posting tweets in a manner similar to the original newspaper announcements.

 

Star Trek Theme - HowieZowie's Theremin Rendition (From our "Space Child" episode)

The "Theme from Star Trek" (originally scored under the title "Where No Man Has Gone Before") is an instrumental musical piece composed by Alexander Courage for Star Trek, the science fiction television series created by Gene Roddenberry and originally aired between September 8, 1966, and June 3, 1969.

The music was played over both the opening and closing credits of the original series. The opening credits begin with the now-famous "where no man has gone before" monologue recited by series star William Shatner, accompanied by an opening fanfare. The main theme begins, punctuated at several points by the Enterprise flying toward and past the camera with a "whoosh" sound for dramatic effect, created vocally by Courage himself. A slightly longer version of the theme, minus the fanfare, was played over the closing credits, which were overlaid on a series of stills from various episodes.

Courage has said his inspiration for the main part of the theme was the Richard Whiting song "Beyond the Blue Horizon," giving him the idea for a song which was a "long thing that...keeps going out into space...over a fast moving accompaniment."

The unaired pilot "The Cage" used a wordless rendition of the melody line, sung by soprano Loulie Jean Norman with flute and organ, over an orchestral arrangement. When originally composed (and as heard in "The Cage"), Courage had Norman's vocalizations and the various instruments mixed equally to produce what Courage described as a unique "'what is that that I'm hearing?' sound." According to Courage, however, Gene Roddenberry had the mix changed to bring up the female vocal, after which Courage felt the theme sounded like a soprano solo. Finally, for the third season it was remixed again, this time emphasizing the organ.

Producer Herbert Solow recalled that Norman had been hired under a Screen Actors Guild agreement and that she would receive rerun fees for her part in the theme. For the second season onward, her vocalization was dropped from the theme. Solow regretted the choice and composer Courage was not informed until twenty-seven years later.

The second unaired pilot episode used an entirely different theme (Star Trek was the first series in American television history for which a network, NBC in this case, requested and paid for a second pilot episode) although this, too, was composed by Alexander Courage. Re-edited for time and then aired, the second pilot episode returned to the original theme and in only the first several episodes, sans all vocals, was a concerto-like solo of an electric violin playing the melodic line. Also the very well known overdubbing by William Shatner was not present in this aired second pilot; it was music only for "Where No Man Has Gone Before."

Without Courage's knowledge, Roddenberry wrote lyrics to the theme — not in the expectation that they would ever be sung, but in order to claim a 50% share of the music's performance royalties. Although there was never any litigation, Courage later commented that he considered Roddenberry's conduct unethical. Roddenberry was quoted as responding, "Hey, I have to get some money somewhere. I'm sure not gonna get it out of the profits of Star Trek." The lyrics are included in the book The Making of Star Trek by Roddenberry and Stephen Whitfield, and were featured in an issue of the DC Comics Star Trek comic book, "performed" by the character Uhura.

 

Land of the Giants Theme

Land of the Giants is an hour-long American science fiction television program lasting two seasons beginning on September 22, 1968, and ending on March 22nd, 1970. The show was created and produced by Irwin Allen. Land of the Giants was the fourth of Allen's science fiction TV series. The show was aired on ABC and released by 20th Century Fox Television. The series was filmed entirely in color and ran for 51 episodes.

Set fifteen years in the future, in the year 1983, the series tells the tale of the crew and passengers of a sub-orbital transport ship named Spindrift. In the pilot episode, the Spindrift is en route from Los Angeles to London, on an ultra fast sub-orbital flight. Just beyond Earth's boundary with space, the Spindrift encounters a magnetic space storm, and is dragged through a space warp to a mysterious planet where everything is twelve times larger than on Earth, whose inhabitants the Earthlings nickname "the Giants." The Spindrift crash-lands, and the damage renders it inoperable.

Very little is known about the home planet of the Giants. This is partially because the Spindrift crew very seldom leave the area where their spaceship crashes in the opening episode. Only two other (unidentified) giant societies are ever seen, in the episodes "The Land of the Lost" and "The Secret City of Limbo."

No name is ever established for the mysterious planet, but the inhabitants seem to know of Earth, Venus, and Mars, referring to them by name in one episode. Exactly where the planet is located is also never made clear. In the episode On a Clear Night You Can See Earth, Captain Steve Burton (Gary Conway) claims to have seen Earth through a set of infrared goggles invented by the giants, implying that the two planets are indeed separate worlds, but near enough to be able to see one from the other. The only established method by which Earth people may reach the giants' planet is high-altitude flight, passing through what one giant calls a "dimension lock" (a term whose meaning is obscure).

Like Allen's previous series Lost in Space and The Time Tunnel, the theme music was composed by John Williams. As with Lost in Space, Williams composed two different themes (in this case one for each season). Williams also scored the pilot episode "The Crash," and was the third composer to be attached to the project - Williams' work replaced a rejected score and theme by Alexander Courage; Joseph Mullendore composed a second theme that was also thrown out.

Excerpt from Psych Level 1 {Apocalypse} – Chain Mail

From the Chain Mail press release: If you’ve traveled the world as a musician, guitar tech (and even a nearly decade long hitch in the US military), and you’ve met ridiculously talented musicians along the way, what do you do to maximize the benefits - for yourself and the world - of that experience? If you’re HowieZowie (nee Kittelson), you spend years weaving together strands of musical ingenuity via a high tech pen-pal relationship. The old music business joke was that a player would find a suitable part and “phone it in.” With the advent of digital technology and file-sharing, it became possible to do precisely that, allowing musicians who have never met each other to perform and record “together,” even if they never have been.

Chain Mail” is the name of the amorphous aggregation of friends around the world who contributed to what ultimately became “The Psychedelic Suite.” It is a ball of sound, dense with ideas and innuendos, that confounds as much as it delights upon first listen.“The Psychedelic Suite” is the result of years of Howie patiently allowing his musical friends around the globe – recruited for their talent and willingness to risk, not their box office marquee value – to add layers of their own ideas to musical files that were passed from one set of hands to another, each grafting onto the finished product their own conception of what the music required of them. Hence, the brilliance displayed in picking the name “Chain Mail” for the aggregation that made the finished work possible.

SCGCCC (13:47)

Rockin' In The Free World – The Moog Cookbook (1996/The Moog Cookbook)

We started off sCreamGrrrl’s Can Con Corner with a cool moog synth version of Neil Young’s Rockin’ In The Free World. That track can be found on the first album by an electronica duo called The Moog Cookbook released in 1996. The duo is made up of Brian Kehew and Roger Joseph Manning Jr. (under the aliases Uli Nomi and Meco Eno) as a parody/tribute to the novelty "Moog records" of the late 1960s and early 1970s. The band's name is derived from a 1978 cookbook, Moog's Musical Eatery by Shirleigh Moog, the first wife of synthesizer pioneer Robert Moog. The duo performs exclusively on analog synthesizers, especially Moog synthesizers. The liner note from their first album proudly proclaims "No MIDI" to demonstrate that they played things by hand, rather than using computer sequencing, which is common for synthesizer music. The Moog Cookbook released 2 albums in the mid 1990s featuring instrumental cover versions of alternative and classic rock tracks performed on vintage synthesizers. The pair reunited to record a track for the soundtrack of the 2004 film Moog. I am sure most of you interested in Moog have seen the documentary and if you haven’t you should. For years I pronounced it Moog and learned through watching the documentary that Robert pronounces it Moog. There is a short video clip on YouTube where Robert Moog explains the proper pronunciation of his last name. Anyhow, if you haven’t already and if you love the synth sound then you just have to check out the band, The Moog Cookbook.

Edible Wallpaper - London Experimental Jazz Quartet (1974/Invisible Roots)

We then played a song called Edible Wallpaper from the band London Experimental Jazz Quartet’s 1974 album titled Invisible Roots. There really isn’t much information out there on this band. They’re quite a mystery. We know the band is from right here in London, Ontario; we know the album was recorded here in London, Ontario on April 23, 1974 at Creative Electronics Sound Studio and originally released by Scratch Records which was a London Label. The group plays avant-garde jazz and you can truly feel the free improvisation spirit in their music. The album is a brilliant and overlooked gem from the Canadian jazz scene of the 70s.

The Inch Worm – Various Artists (2011/Puttin' On The Ritz)

And we ended the song with another rarity, a song called The Inch Worm from a 2011 Compilation called Puttin’ On The Ritz. We don’t know much about this album but it does have the FACTOR marking and stands for “The Foundation Assisting Canadian Talent on Recordings,” which means that the album was supported financially through the Government of Canada and of Canada’s Private Radio Broadcasters which is always a delight to see. The compilation features various artists performing retro lounge versions of Big Band Standards. The album art work features a martini cocktail stating “Smooth, cool and classic, these cocktails add style to every gathering followed by two recipes on the album sleeve, one for a Martini and another for a Manhattan. We listened to the album for our first time last night, they’re 16 songs and it’s so much fun to play. Some of the other Big Band Standards performed retro lounge style found on the album include Istanbul, Mas Que Nada, Brazil, Blue Skies and the obvious album title Puttin’ On The Ritz.

And there you have it, this week’s SCGCCC for our “Incidentally” show, we hope you liked it, thanks for having me co-host HowieZowie, thank you the listeners out there for tuning in, for supporting community radio and for sharing your Saturday Morning with HowieZowie.

Chain Mail Meets The Veldt & Vice Versa Block (11:45)

Psych Level 9 {Secret Squirrel Mix} – Chain Mail (2017/Single)

Gentrified – The Veldt (Live April 1, 2016/CHRW)

The Veldt play beautiful music, ambient and flowing in it's essecnce. A display of pure orgasmic electricity poetry in slow motion. Formed by identical twin brothers singer/guitarist Daniel and guitarist Danny Chavis, and rounded out by drummer Marvin Levi on drums and bassist joesph (hue) boyle, later David Burris, The Veldt quickly became the "must see attraction" of the quirky art-rock scene in Chapel Hill, NC (which also held bands like Superchunk, Polvo and Dillon Fence in its ranks). The Veldt released their first proper record, Marigold's, on Stardog/Mercury, in 1992. Marigold's was received well enough to earn the band a much more lucrative contract with Polygram Records. The result was the cult classic Afrodisiac recorded and produced in London, England with Ray Shulman (The Sugarcubes,The Sundays, etc.) at the helm. Afrodisiac's under current rumblings eventually rose to cause a storm as the band soon found themselves sharing stages with likes of Oasis, The Cocteau Twins, The Pixies, Fishbone, Corrosion Of Conformity and a host of other seminal alternative bands. After two more records, Universe Boat on Yesha Recordings and Love At First Hate on their own imprint, End Of The World Technologies, Danny left the band preceded by Burris who left the music business for a career in film in 1994 (he is currently the producer for CBS's hit show Survivor). The Veldt continued on in various incarnations until it was put to bed in 1998. After relocating to New York City, Danny and Daniel focused on their new band Apollo Heights. This time around, The Chavis brothers pushed their musical boundaries with more electronica and trip hop influenced back drops to create texture with Daniel's soulful falsetto croon. Their last recording, White Music For Black People, featured the twins and special guests Mos Def and Lady Miss Kier from Delite fame. TV On The Radio's David Sitek handled some of the production with Danny and Daniel doing the rest.

On April Fools Day 2016 The Veldt entered the CHRW Studio and performed this off-the-cuff version of their current single at the time - “Sanctified”. With drummer Marvin Levi “detained at the border” and their gear awaiting pre-show attention for that night's show, they soldiered on as an acoustic trio – the pointed lyrical changes expressing the angst of the situation. They are joined on this excursion by The Chain Mail Auxiliary:

Brent Jones – Piano, Organ

James Vincent Sloan – Baritone Sax

Koen Lommerse – Bass

Heather Slaven – Background Vocals

Howie Kittelson- Theremin, Backwards Guitar, Percussion

Kevan Carmen – Programming

In turn, The Veldt's Hayato Nakao tackled the remix of Chain Mail's “Psych Level 5 {Reprise}, adding himself into the fray and giving us “Psych Level 9 {Secret Squirrel Mix}

 

Dutch Treat Block (11:29)

De Antideprafunkopus - Koen Fu (2014/Home Alone)

Stampertje- Koen Fu (2014/Home Alone)

Transitions- Koen Fu (2014/Home Alone)

{The following is translated from a Dutch reviewer}

Many people wonder, "Who is Koen Fu?" Some say he's the best guitarist of the Netherlands. For others, the best bassist. He calls himself “Camp Boss”. Koen Fu has played in a number Eindhoven iconic bands: City Pig Unit, Gotcha! All Stars, Phoenix Explosion and Beef. Koen Fu is also the creator of a very beautiful album full of instrumental recordings. Recorded in garages, bedrooms and caravans. The album was released on two fatty vinyl discs and that is the only way to listen to the music. Nothing digital, no CD, because that is not what suits the sound of Koen Fu.

For 'Home Alone' Koen Fu, pseudonym of Koen Lommerse, holed himself up in his own studio. The catering was done by himself. On the inside of the cover of this double CD is a picture of the broom cupboard which also serves as a studio for the music fanatic. Ramvol with instruments; this is clearly the place where "the magic happens." 'Home Alone' is a special plate of goodies that brings something new with each taste.

On the A side, we are provided the title 'Phasin'n Blazin', dominated by a sultry Spanish guitar. Here let Lommerse hear the guitarist virtuoso side, a bit in the style of the Rosenberg Trio. And that is then over a thick sauce funky, with a nice bass line under the dexterous playing It's the side intended to get you really relaxed before an onslaught:

'Riffin'n Spliffin', the B-side of the first disc, is reminiscent of his work with City Pig Unit. Think of solid hard rock and hip-hop influences with a grunge feel. A raw sound without being really heavy. Melodic and catchy. Stuck Mojo, Bodycount, Rage Against The Machine and Urban Dance Squad come to mind.

Sultry and funky is the vibe third side, 'Easin'n Pleasin'. Pleasant bass lines accompany sexy guitar playing. The guitar whines and moans through the songs. The languid tracks are as yet incredibly exciting and tasty - subtlety spiced samples.

Then we arrive on side D ~ 'Skankin'n spankin' does exactly what it promises. Here Koen nods to his time in Beef. Skanked, yet relaxed. A touch of jazz here and there and some strumming reminiscent of a sitar. Koen never fails to surprise with his attention to smallest of details.
 

Without singing, this is purely an exhibition of arts guitar on a jet-black disk. But you do not have to be a scholar to appreciate it - Koen Fu is for everyone. This is an artist that loves and crosses all genres. Go to his YouTube channel – give him a listen/watch, I promise you will not be disappointed.

There is only one place to acquire Home Alone:
https://l.facebook.com/l.php?u=https%3A%2F%2Fwww.blendomaticshop.nl%2Fkoen-fu-home-alone-2lp&h=ATMOXVsnlrNND-_dS7k2DdST6sn8ki1m6xs8VHDtlwXWVbUdkwZpcdQbNF1QbeyQr54nSOpJjy4Mhzp-vYbAqd1cHVJ8_CSwvOqORf-bqlr0kTzLue07kpXovqtoOJkYiR9E

What's My Perversion? Block (9:12)

Hawaii 5.1 – Kevan Carmen (2017/Single)

Here we have another newly remastered (by Dick Van der Lee) single called from local London-based musician Kevan Carmen also known as our legendary Kapt. Kutter who creates the mash-ups for this show.

Kapt. Kutter Mash-Up – What's My Perversion?

The Bunkers visit Burbank (featuring Woody Allen's "Everything You Wanted to Know About Sex, But Was Afraid To Ask")