The first song ever taught to me I think when I was five. My mother sang it to me in English, just once, and I pretty much got it. Here’s the Mabuhay Singers doing the somewhat tedious all-English version I remember growing up, and below is the fan-freakin-tastic Filipino post-punk rock group The Dawn doing it in Tagalog.
Fernando Amorsolo y Cueto (1892 – 1972) was a portraitist and painter of rural Philippine landscapes. This is one of his many, many depictions of rice planting and it’s the one I think hung in our house when I was little, next to the shield of bolo knives, the oversized mahogany fork and spoon set, and the pictures of Pope John XXIII and John F Kennedy. If you’re an American-born pinoy, you’ll know what I mean.
If I hadn’t fallen so fierce hard for Geordie-born-and-bred John Wilson, ConductorI’d never have been delving into All Things Gateshead and I never would have stumbled onto a bootleg recording of this show, which was the very show Mister Grumble and I missed in New York when we were just setting up household and I was heavily pregnant. Great music, great energy, and it was touching to catch a (private?) glance at Sting—another Geordie, by the way—crossing himself before taking the stage. The sound is impeccable.
Mister Grumble, who’s of an age and knows everything about English Progressive Rock, had no idea this piece existed. (He attributes it to having been distracted at the time of the 1969 concert, getting out of the US Army as he did, after spending 13 months overseas.) So when I played the live recording for him for the first time on Sunday he went to the moon.
The Concerto for Group and Orchestra was composed Jon Lord, lyrics by Ian Gillan. It was first performed by Deep Purple and the RPO conducted by Malcolm Arnold on 24 September; the record came out that December. The performance at the Royal Albert Hall was the first ever combination of rock music and a complete orchestra and paved the way for other rock/orchestra performances.
With the coolest theme on American TV, The Equalizer introduced Copeland’s stunningly unique sound to the mainstream audience. In keeping with the series’ mash-up concept of “tradition merged with New Age high tech,” Copeland’s musical accompaniment would, one: with the exception of hero Robert McCall himself, forego the Wagnerian structure of identifiable leitmotifs, and instead choose to score the city of New York itself as a primary character; and, two: fuse classical structure with the combo of “percussion carrying melody and synthesized strings” attached to world rhythms. Copeland’s would be a coldly ethereal yet dense “urban ballet” sound inexorably linked to the modern cityscape. This sound would influence composers such as Hans Zimmer and Thomas Newman.
They used to shoot episodes in my old neighborhood the East Village, at great risk to star Woodward (two heart attacks and once he fell through a roof).
Copeland was born in 1952. The son of CIA officer Miles Copeland, Jr (who was portrayed in Norman Mailer’s lengthy novel Harlot’s Ghost), he took up the drums at 12, was raised internationally in Cairo, Beirut, the US and England; and throughout the 1970s alternately worked as road manager and backup drummer for various groups until founding in 1977, along with Sting and Henry Padovani (later replaced by Andy Summers), the progressive rock band The Police. After The Police went on extended hiatus in 1986, the drummer with a composer’s sensibilities dove headlong into scoring—to this day, one of his most notable works is as musical voice of The Equalizer, on which he composed 51 of 88 total episodes of the series.