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I'm Waiting For The Day
"I'm Waiting for the Day" is a song by the American rock band the Beach Boys from their 1966 album ''Pet Sounds''. Written primarily by Brian Wilson, the lyrics describe a man who is "waiting for the day" when the woman he loves will be ready to commit to a relationship with him. Wilson, alongside co-author Mike Love, are the only Beach Boys who appear on the recording. Musically, the arrangement is characterized for its dynamic use of textures and word painting. Wilson produced the track in March 1966 with the aid of 17 studio musicians who variously played timpani, bongos, drums, flutes, English horn, electric guitar, two basses, strings, and an altered tack piano. Background and lyrics "I'm Waiting for the Day" was copyrighted by Wilson as a solo composition in February 1964. When the song was published on ''Pet Sounds'', it was credited to Wilson and Mike Love, who revised eight words in Wilson's original lyric. Asked in 2014 about the song, Wilson said that "there really ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
The Beach Boys
The Beach Boys are an American Rock music, rock band that formed in Hawthorne, California, in 1961. The group's original lineup consisted of brothers Brian Wilson, Brian, Dennis Wilson, Dennis, and Carl Wilson, their cousin Mike Love, and friend Al Jardine. Distinguished by their vocal harmony, vocal harmonies, adolescent-themed lyrics, and musical ingenuity, they are one of the most influential acts of the rock era. They drew on the music of traditional pop, older pop vocal groups, 1950s rock and roll, and black R&B to create their unique sound. Under Brian's direction, they often incorporated classical music, classical or jazz elements and Recording studio as an instrument, unconventional recording techniques in innovative ways. The Beach Boys began as a garage band, managed by the Wilsons' father Murry Wilson, Murry, with Brian serving as composer, arranger, producer, and ''de facto'' leader. In 1963, they enjoyed their first national hit with "Surfin' U.S.A.", beginning a ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Peter Ames Carlin
Peter Ames Carlin (born March 13, 1963) is an American journalist, critic and biographer who has written for publications such as ''People'' magazine, ''The New York Times Magazine'', '' The Los Angeles Times Magazine'', and ''The Oregonian''. Several of his published books focus on popular music and musicians, including '' Catch a Wave: The Rise, Fall and Redemption of the Beach Boys' Brian Wilson'' (2006). Early years Born in Syracuse, New York, Carlin was raised in Seattle, Washington, where he attended public schools including Garfield High School, from which he graduated in 1981. He attended Macalester College in Saint Paul, Minnesota, for a year then graduated from Lewis & Clark College in Portland, Oregon in 1985. Career Carlin started publishing freelance work in 1985. Still living in Portland, he contributed stories to a wide variety of publications, including cover stories to ''The New York Times Magazine'' and ''The Los Angeles Times Magazine''. In 1993, Carlin ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Bruce Johnston
Bruce Arthur Johnston (born Benjamin Baldwin; June 27, 1942) is an American musician, singer, songwriter, and record producer who is a member of the Beach Boys. Johnston also collaborated on many records with Terry Melcher (his bandmate in Bruce & Terry, the Rip Chords, and California Music) and composed the 1975 Barry Manilow hit, " I Write the Songs". Born in Illinois, Johnston grew up in Los Angeles and studied classical piano in his early years. While in high school, he arranged and played on his first hit record, Sandy Nelson's "Teen Beat" (1959), and also worked with musicians such as Kim Fowley and Phil Spector. One of Johnston's first gigs was as a member of the surf band the Gamblers before becoming a staff producer at Columbia Records. In 1965, Johnston joined the Beach Boys for live performances, initially filling in for the group's co-founder Brian Wilson. Johnston's first appearance on the band's records was as a vocalist on " California Girls" (1965). He later ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
The Man With All The Toys
"The Man with All the Toys" is a Christmas song written by Brian Wilson and Mike Love for the American rock band The Beach Boys. It was released on their 1964 album ''The Beach Boys' Christmas Album''. As a single that year it had limited success (No. 6 on the ''Billboard'' Christmas chart), but built sales over successive Christmases and is listed by ''Billboard'' in the Top 100 selling Christmas songs in history, though well below the Beach Boys' 1963 Christmas single " Little Saint Nick". A French-language version of this song was recorded in 1968 by Canadian singer Renée Martel, under the title "As-tu vu le Père Noël?". at YouTube Wilson re-recorded this song for his 2005 Christmas album, '' |
Doo-wop Progression
The 50s progression (also known as the "Heart and Soul" chords, the "Stand by Me" changes, the doo-wop progression and the "ice cream changes") is a chord progression and turnaround used in Western popular music. The progression, represented in Roman numeral analysis, is: I–vi–IV–V. For example, in C major: C–Am–F–G. As the name implies, it was common in the 1950s and early 1960s and is particularly associated with doo-wop. Theory In Western classical music during the common practice period, chord progressions are used to structure a musical composition. The destination of a chord progression is known as a cadence, or two chords that signify the end or prolongation of a musical phrase. The most conclusive and resolving cadences return to the tonic or I chord; following the circle of fifths, the most suitable chord to precede the I chord is a V chord. This particular cadence, V–I, is known as an authentic cadence. However, since a I–V–I progression is repetitive ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
English Horn Picture
English usually refers to: * English language * English people English may also refer to: Peoples, culture, and language * ''English'', an adjective for something of, from, or related to England ** English national identity, an identity and common culture ** English language in England, a variant of the English language spoken in England * English languages (other) * English studies, the study of English language and literature * ''English'', an Amish term for non-Amish, regardless of ethnicity Individuals * English (surname), a list of notable people with the surname ''English'' * People with the given name ** English McConnell (1882–1928), Irish footballer ** English Fisher (1928–2011), American boxing coach ** English Gardner (b. 1992), American track and field sprinter Places United States * English, Indiana, a town * English, Kentucky, an unincorporated community * English, Brazoria County, Texas, an unincorporated community * Engli ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
I Just Wasn't Made For These Times
"I Just Wasn't Made for These Times" is a song by American rock band the Beach Boys from their 1966 album ''Pet Sounds''. Written by Brian Wilson and Tony Asher, the lyrics describe the disillusionment of someone who struggles to fit into society. Musically, it is distinguished for its melodic bass guitar, layered vocals, and Electro-Theremin solo, marking the first time the instrument was used in popular music and the first time theremin-like sounds were used on a rock record. One of the last tracks completed for ''Pet Sounds'', Wilson produced the recording with the aid of 14 studio musicians—including Electro-Theremin inventor Paul Tanner—who variously played percussion, basses, guitars, clarinets, piccolo, harpsichord, tack piano, and bass harmonica. All six Beach Boys sang on the track. In addition to multiple vocal counterpoints, the chorus features Spanish-sung backing vocals: "''Oh, ¿cuándo seré? Un día seré''" ("When will I be? One day I will be"). "I Just Wasn ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Sloop John B
"Sloop John B" (originally published as "The John B. Sails") is a Bahamian folk song from Nassau. A transcription by Richard Le Gallienne was published in 1916, and a version was included in Carl Sandburg's ''The American Songbag'' in 1927. Since the early 1950s there have been many recordings of the song with variant titles including "I Want to Go Home" and "Wreck of the John B". In 1966, the Beach Boys recorded a folk rock adaptation that was produced and arranged by their ''de facto'' leader, Brian Wilson. Released as the second single from their album ''Pet Sounds'', the record peaked at number three in the U.S., number two in the UK, and topped the charts in several other countries. It was innovative for containing an elaborate a cappella vocal section not found in other pop music of the era, and it remains one of the group's biggest hits. In 2011, the Beach Boys' version of "Sloop John B" was ranked on ''Rolling Stone''s list of "The 500 Greatest Songs of All Time". Earli ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
You Still Believe In Me
"You Still Believe in Me" is a song by American rock band the Beach Boys from their 1966 album ''Pet Sounds''. Initially conceived as "In My Childhood", it was the first songwriting collaboration between Brian Wilson, the group's ''de facto'' leader, and songwriter Tony Asher. Wilson sang the lead vocal. The lyrics are about a man who, while acknowledging his irresponsible behavior and unfaithfulness, is impressed by the unwavering loyalty of his lover, who is left shouldering the stability of their relationship. Wilson's then-wife Marilyn surmised that this choice of subject matter was indebted to the couple's marital struggles at the time. One of the first songs produced for ''Pet Sounds'', Wilson recorded the track between October 1965 and February 1966 with the aid of his bandmates, Asher, and 13 session musicians who variously played harpsichord, clarinets, 12-string electric guitars, timpani, finger cymbals, pianos, basses, and bicycle horn. Wilson and Asher created th ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
E Major
E major (or the key of E) is a major scale based on E, consisting of the pitches E, F, G, A, B, C, and D. Its key signature has four sharps. Its relative minor is C-sharp minor and its parallel minor is E minor. Its enharmonic equivalent, F-flat major, has eight flats, including the double-flat B, which makes it impractical to use. The E major scale is: Music in E major Antonio Vivaldi used this key for the "Spring" concerto from ''The Four Seasons''. Johann Sebastian Bach used E major for a violin concerto, as well as for his third partita for solo violin; the key is especially appropriate for the latter piece because its tonic (E) and subdominant (A) correspond to open strings on the violin, enhancing the tone colour (and ease of playing) of the bariolage in the first movement. Only two of Joseph Haydn's 106 symphonies are in E major: No. 12 and No. 29. Ludwig van Beethoven used E major for two of his piano sonatas, Op. 14/1 and Op. 109. Starting with B ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Musical Form
In music, ''form'' refers to the structure of a musical composition or musical improvisation, performance. In his book, ''Worlds of Music'', Jeff Todd Titon suggests that a number of organizational elements may determine the formal structure of a piece of music, such as "the arrangement of musical units of rhythm, melody, and/or harmony that show repetition (music), repetition or variation (music), variation, the arrangement of the instruments (as in the order of solo (music), solos in a jazz or bluegrass performance), or the way a symphonic piece is orchestration, orchestrated", among other factors. It is, "the ways in which a composition is shaped to create a meaningful musical experience for the listener."Kostka, Stefan and Payne, Dorothy (1995). ''Tonal Harmony'', p.152. McGraw-Hill. . These organizational elements may be broken into smaller units called phrases, which express a musical idea but lack sufficient weight to stand alone. Musical form unfolds over time through th ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Drums In Keuruu Church
A drum kit (also called a drum set, trap set, or simply drums) is a collection of drums, cymbals, and other auxiliary percussion instruments set up to be played by one person. The player (drummer) typically holds a pair of matching drumsticks, one in each hand, and uses their feet to operate a foot-controlled hi-hat and bass drum pedal. A standard kit may contain: * A snare drum, mounted on a stand * A bass drum, played with a beater moved by a foot-operated pedal * One or more tom-toms, including rack toms and/or floor toms * One or more cymbals, including a ride cymbal and crash cymbal * Hi-hat cymbals, a pair of cymbals that can be manipulated by a foot-operated pedal The drum kit is a part of the standard rhythm section and is used in many types of popular and traditional music styles, ranging from rock and pop to blues and jazz. __TOC__ History Early development Before the development of the drum set, drums and cymbals used in military and orchestral music se ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
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