Saturday 31 August 2024

Never Gonna Give You Up

 "Never Gonna Give You Up" is a song by English singer Rick Astley, released on 27 July 1987. Written and produced by Stock Aitken Waterman, it was released by RCA Records as the first single from Astley's debut studio album, Whenever You Need Somebody (1987). The song became a worldwide hit, initially in the United Kingdom in 1987, where it stayed at the top of the chart for five weeks and was the best-selling single of that year. It eventually topped charts in 25 different countries, including the United States and West Germany, and winning Best British Single at the 1988 Brit Awards. The song is widely regarded as Astley's most popular, as well as his signature song, and it is often played at the end of his live concerts.

The music video for the song, directed by Simon West, surged in popularity in 2007 due to the bait-and-switch "RickrollInternet meme. In 2008, Astley won the MTV Europe Music Award for Best Act Ever with the song, as a result of a collective campaign from thousands of people on the Internet. In 2019, Astley recorded and released a new 'Pianoforte' arrangement of the song for his album The Best of Me. In 2023, Billboard magazine ranked "Never Gonna Give You Up" among the 500 best pop songs of all time. 

"Never Gonna Give You Up" was recorded at PWL Studios in South London, England. The song's basslines were produced using a Yamaha DX7 digital synthesizer, while a Linn 9000 was used for the drums and sequencing. Other equipment used included a Roland Juno 106 analog synthesizer, and Yamaha Rev5 and Rev7 reverberators.

Mike Stock stated that the Colonel Abrams hit "Trapped" (1985) was a big influence on "Never Gonna Give You Up", saying: "For Rick Astley's song I didn't want it to sound like Kylie or Bananarama so I looked at the Colonel Abrams track 'Trapped' and recreated that syncopated bassline in a way that suited our song."

The title and concept for the song were suggested by Pete Waterman after Astley spoke to him of his devotion to his then girlfriend, with the song's tune, chords and lyrics then composed by Mike Stock and Matt Aitken. Initial mixing was done by Phil Harding, with the song's distinctive synthetic string and brass lines later added by Fairlight operator Ian Curnow. The final mix was provided by PWL remixer Pete Hammond, who made the vocals more prominent. His completed extended mix was edited down by Stock and Aitken to become the radio version. 

The music video for "Never Gonna Give You Up" was directed by Simon West. It was filmed in London, largely around Freston Road in the London Borough of Kensington and Chelsea. Since being uploaded to YouTube on 25 October 2009, the video has received over 1.5 billion views and 17 million likes; it surpassed the 1 billion views milestone on 28 July 2021. 

On 12 March 1988, "Never Gonna Give You Up" reached number one in the American Billboard Hot 100 chart after having been played by resident DJ, Larry Levan, at the Paradise Garage in 1987. The single topped the charts in 25 countries worldwide. The single also reached the number 1 spot on the year-end singles charts in the UK and South Africa. 

Assessing the status of the track as producers Stock Aitken Waterman's biggest and most enduring hit, composer Mike Stock confessed he struggled to completely understand why the song had struck such a chord, but suggested its massive success was down to a combination of the song, the singer, and the international clout of record label RCA.

In 2014, Matt Dunn of WhatCulture ranked the song at number one in his "15 unforgettable Stock Aitken Waterman singles" list. Time Out listed "Never Gonna Give You Up" at number 33 in their "The 50 Best '80s Songs" list in 2018, adding, "Those synthesized strings, that thumping boots-and-pants beat, Astley's weirdly robust croon and his romantic-wooing-as-used-car-salesman pitch ('You wouldn't get this from any other guy')… It all adds up to three-and-a-half of the most effervescent minutes in the '80s canon."

The song was reportedly played as part of Operation Nifty Package, a psychological warfare campaign to convince Panamanian dictator Manuel Noriega to surrender during the United States invasion of Panama in 1989, along with other songs such as the Clash's cover of "I Fought the Law" and "Panama" by Van Halen. In April 2020, The Guardian ranked it at number 44 in their list of "The 100 Greatest UK No 1s".

Classic Pop ranked the song number four in their list of "Top 40 Stock Aitken Waterman Songs" in 2021. The Emmy Award-winning sitcom Ted Lasso featured the song prominently in the season two episode "No Weddings and a Funeral", including a scene where Rebecca Welton (played by Hannah Waddingham) begins to sing it in the middle of her father's funeral. Astley himself commented of the episode, "Waddingham...did an amazing, incredible job. It was so emotional, so moving, so incredible. People have said they even cried (during) the church scene."

In August 2022, the CSAA Insurance Group, an insurer for the American Automobile Association, released a commercial featuring Rick Astley, with scenes recreated from the original "Never Gonna Give You Up" music video. Yung Gravy's 2022 song "Betty (Get Money)" prominently interpolates "Never Gonna Give You Up"'s synthesizer riff and chorus, with Stock Aitken Waterman credited as songwriters. Although Astley agreed to license the music and lyrics, he never authorized Gravy to directly copy his voice. On January 26, 2023, Astley filed a lawsuit in a Los Angeles court, objecting to Gravy's use of an impersonator to mimic Astley's voice. The case was settled in September 2023. In October 2023, Billboard magazine ranked "Never Gonna Give You Up" number 244 in their list of "500 Best Pop Songs of All Time". In 2023, Alexis Petridis of The Guardian listed the song at number two in his "Stock Aitken Waterman's 20 greatest songs – ranked!", describing it "a brilliantly written song" 

Never Gonna Give You Up" is the subject of an Internet meme known as "rickrolling" involving misleading links (commonly shortened URLs) redirecting to the song's music video. Started by users on 4chan, the practice had by May 2007 achieved notoriety on the Internet. It increased in popularity after its use as a 2008 April Fools' Day joke by various media companies and websites—including YouTube, which rickrolled all of its featured videos on that day—allowing people to easily rickroll their friends' devices. "I think it's just one of those odd things where something gets picked up and people run with it", Astley told the Los Angeles Times in late March 2008. "That's what's brilliant about the Internet."

Astley appeared in the 2008 Macy's Thanksgiving Day Parade, interrupting a song performed by those on a float promoting the Cartoon Network programme Foster's Home for Imaginary Friends with a lipsynched performance of "Never Gonna Give You Up". There were reports that despite the video garnering millions of hits on YouTube, Astley earned almost no money from the online phenomenon, receiving only $12 in royalties from YouTube for his performance share as of August 2010. In 2016, Astley said he never bothered to figure out how much money he earned from YouTube and said that he had also been paid "a chunk of money" by Virgin to appear in a commercial and for his appearance at the Macy's Thanksgiving Parade.

To download the easy alphanotes sheet music, look here. Enjoy! 












 






Saturday 24 August 2024

Oh! Susanna

 "Oh! Susanna" is a minstrel song by Stephen Foster (1826–1864), first published in 1848. It is among the most popular American songs ever written. Members of the Western Writers of America chose it as one of the Top 100 Western songs of all time.

In 1846, Stephen Foster moved to Cincinnati, Ohio, and became a bookkeeper with his brother's steamship company. While in Cincinnati, Foster wrote "Oh! Susanna", possibly for his men's social club. The song was first performed by a local quintet at a concert in Andrews' Eagle Ice Cream Saloon in Pittsburgh, Pennsylvania, on September 11, 1847. It was first published by W. C. Peters & Co. in Cincinnati in 1848. Blackface minstrel troupes performed the work, and, as was common at the time, many registered the song for copyright under their own names. As a result, it was copyrighted and published at least twenty-one times from February 25, 1848, through February 14, 1851. Foster earned just $100 ($2,774 in 2016 dollars) for the song, but its popularity led the publishing firm Firth, Pond & Company to offer him a royalty rate of two cents per copy of sheet music sold, convincing him to become the first fully professional songwriter in the United States.

The name Susanna may refer to Foster's deceased sister Charlotte, whose middle name was Susannah. 

The song blends together a variety of musical traditions. The opening line refers to "a banjo on my knee", but the song takes its beat from the polka, which had just reached the U.S. from Europe. Writer and musician Glenn Weiser suggests that the song incorporates elements of two previous compositions, both published in 1846: "Mary Blane", by Billy Whitlock, and "Rose of Alabama", by Silas S. Steele. He points out that the melody of the verse of "Oh! Susanna" resembles that of "Mary Blane", and the opening of the chorus of "Oh! Susanna" is almost identical to that of "Rose of Alabama". Moreover, the story lines of both "Oh! Susanna" and "The Rose of Alabama" involve a lover going from one Deep Southern state to another with his banjo in search of his sweetheart, which suggests that Foster got the inspiration for his lyrics from Steele's song.

The first two phrases of the melody are based on the major pentatonic scale.

The song contains contradictory lines such as "It rain'd all night the day I left, The weather it was dry, The sun so hot I froze to death...", which have been described as "nonsense". It is one of the songs by Foster that use the word "nigger" (others are "Old Uncle Ned" and "Oh! Lemuel", both also among Foster's early works), which appears in the second verse ("De lectric fluid magnified, And kill'd five hundred nigger."). 

The song is one of Stephen Foster's best-known songs, and it also is one of the best-known American songs. No American song had sold more than 5,000 copies before; "Oh! Susanna" sold over 100,000. After its publication, it quickly became known as an "unofficial theme of the Forty-Niners", with new lyrics about traveling to California with a "washpan on my knee". A traditional Pennsylvania Dutch version uses Foster's melody but replaces the lyrics entirely.

To download the easy alphanotes sheet music, look here. Enjoy!

Lyrics:

I come from clabamaWith my banjo on my kneeI'm going to LouisianaMy true love for to see
It rained all night the day I leftThe weather it was dryThe sun so hot I froze to deathSusanna don't you cry
Oh! Susanna,Don't you cry for me.I come from clabamaWith my banjo on my knee.
I had a dream the other nightWhen everything was still,I thought I saw SusannaComing down the hill







Saturday 17 August 2024

Oh, Dear! What Can the Matter Be?

Oh, Dear! What Can the Matter Be?, also known as "Johnny's So Long at the Fair" is a traditional nursery rhyme that can be traced back as far as the 1770s in England. There are several variations on its lyrics. 

The tune was first published in British Lyre, or Muses' Repository (1792), and two years later in the James Evan's Ladies Memorandum for 1794. Older versions are likely to have existed, perhaps in 9/8 time rather than the usual 6/8. There are records of it being used as a popular duet by Samuel Harrison and his wife, the soprano Miss Cantelo, from 1776. 

Raph's American Song Treasury uses the traditional lyrics and adds a second verse:

He promised he'd buy me a basket of posies
A garland of lilies, a garland of roses;
A little straw hat to set off the blue ribbons
That tie up my bonny brown hair.

Raph dates this version of the song to 1795, and notes that while it has been popular in the United States for over 200 years, having made its way across the Atlantic shortly after American Independence, it is really English, having achieved widespread popularity in England around 1792, from being performed as a duet at Samuel Harrison concerts. It was performed in concerts in New York and Philadelphia within a decade of arriving in the U.S.

The Oxford Dictionary of Nursery Rhymes dates the song to a manuscript compiled some time between 1770 and 1780. Chappell's Popular Music dates the song to 1792, when it was first published as sheet music. The notes by Stenhouse in the second volume of Johnson's Scots Musical Museum record a concurrent Anglo-Scottish publication. 

The song has been parodied several times, the best known of which is the American bawdy song "Seven Old Ladies", sung to the same tune but with different lyrics. Here are the chorus and the first two verses, of seven, as published in Ed Cray's The Erotic Muse:

Oh, dear, what can the matter be,
Seven old ladies were locked in the lavatory,
They were there from Monday till Saturday,
And nobody knew they were there.

The first old lady was 'Lizabeth Porter,
She was the deacon of Dorchester's daughter,
Went there to relieve a slight pressure of water,
And nobody knew she was there.

The second old lady was Abigail Splatter.
She went there 'cause something was definitely the matter.
But when she got there, it was only her bladder,
And nobody knew she was there.

One suggested precursor to the bawdy song, recorded in William's Upper Thames collection is the following "old morris fragment":

Oh, dear, what can the matter be?
Three old women tied to an apple tree!
One ran away, the others stopped till Saturday.
Oh, dear, what can the matter be?

As with many folk songs and tall tales each verse exaggerates one common trait (one so thin she falls through a knot-hole). Suggested alternate lyrics include:

Oh, dear, what can the matter be,
Six old maids were stuck in the lavatory,
They were there from Sunday till Saturday,
Nobody knew they were there
The first one in was fat lady Humphreys - squeezed herself down and she said "it's quite comfy"
but when she was through she could not get her bum free – and nobody knew she was there.
Refrain
The next one there was old lady Grayson – she couldn't get in so she peed in the basin
it was the same water the next washed her face in – and nobody knew they were there.

"Seven Old Ladies" was not the first parody, however. Long before that parody, the song had been parodied for political purposes. One such parody can be found in the Wisconsin State Journal of 1 March 1864. It was written to exhort parents, who during the U.S. Civil War had not taken much interest in public schooling in Madison, to visit the schools of their children. Its lyrics were:

Oh, dear, what can the matter be?
Oh, dear, what can the matter be?
Oh, dear, what can the matter be?
Parents don't visit the school.

They visit the circus, they visit their neighbors;
They visit their flocks and the servant who labors;
They visit the soldiers with murderours sabers;
Now, why don't they visit the school?

(Chorus)

They care for their horses, they care for their dollars;
They care for their parties and fancy fine collars;
But little, we think, do they care for their scholars;
Because they don't visit the school.

(Chorus)

We know we from hunger and cold are protected;
In virtue and knowledge our minds are directed;
But still we do think that we are sadly neglected;
Because they don't visit the school.

(Chorus)

 To download the easy alphanotes sheet music, look here. Enjoy!

Lyrics:

O dear, what can the matter be?
Dear, dear, what can the matter be?
O dear, what can the matter be?
Johnny’s so long at the fair.

He promised he’d buy me a fairing should please me,
And then for a kiss, oh! he vowed he would tease me,
He promised he’d bring me a bunch of blue ribbons,
To tie up my bonny brown hair.

O dear, what can the matter be?
Dear, dear, what can the matter be?
O dear, what can the matter be?
Johnny’s so long at the fair.

He promised he’d buy me a basket of posies
A garland of lilies, a garland of roses;
A little straw hat to set off the blue ribbons
That tie up my bonny brown hair, and it’s

O dear, what can the matter be?
Dear, dear, what can the matter be?
O dear, what can the matter be?
Johnny’s so long at the fair.

 








Saturday 10 August 2024

Oats, Peas, Beans and Barley Grow

The song “Oats, Peas, Beans, and Barley Grow” is a traditional British-American folk song that has been passed down through generations. The lyrics describe the process of farming and the growth of oats, peas, beans, and barley. Here’s a breakdown of the song’s structure and key phrases:

  • The song typically begins with the question “Oats, peas, beans, and barley grow, Oats, peas, beans, and barley grow, Can you or I or anyone know How oats, peas, beans, and barley grow?”
  • The answer is provided through a series of verses, each describing a stage in the farming process:
    • “First the farmer sows his seed, Then he stands and takes his ease, Stamps his feet and claps his hands, And turns around to view his land”
    • Other verses may include additional details about the farmer’s actions, such as “He stamps his foot and claps his hands and turns around to view the land”

Variations and Adaptations

The song has undergone slight variations and adaptations over time, with different versions featuring additional verses or slight changes to the original lyrics. Some versions may include more explicit descriptions of the farming process, while others may focus on the actions and movements of the farmer.

Historical Context

The song’s tune is believed to have been written in 1650, making it a near-300-year-old traditional folk song. It has been passed down through oral tradition and has been published in various forms, including children’s songbooks and educational materials.

Modern Usage

Today, “Oats, Peas, Beans, and Barley Grow” remains a popular nursery rhyme and educational tool, often used to teach children about farming and agriculture. The song’s actions and movements have been adapted into a play song, with children taking turns acting out the farmer’s role and switching places after each verse.

Key Takeaways

  • The song “Oats, Peas, Beans, and Barley Grow” is a traditional folk song with a long history.
  • The lyrics describe the farming process and the growth of oats, peas, beans, and barley.
  • The song has undergone slight variations and adaptations over time, but its core message and structure remain the same.
  • Today, the song is often used as a nursery rhyme and educational tool to teach children about farming and agriculture.

To download the easy alphanotes sheet music, look here. Enjoy!

Lyrics:

Oats, peas, beans and barley grow,
Oats, peas, beans and barley grow.
Can you or I or anyone know;
How oats, peas, beans and barley grow? 

First the farmer sows his seed,
Then he stands and takes his ease,
Stamps his feet and claps his hands,
And turns around to view his land.
 
Next the farmer waters the seed,
Then he stands and takes his ease.
AStamps his feet and claps his hands,
And turns around to view his land. 

Next the farmer hoes the weed,
Then he stands and takes his ease.
Stamps his feet and claps his hands,
And turns around to view his land. 

Last the farmer harvests the seed,
Then he stands and takes his ease.
Stamps his feet and claps his hands,
And turns around to view his land.















Saturday 3 August 2024

Inside Out Theme Song

 The Inside Out theme song is the official motion picture soundtrack to the 2015 Disney/Pixar animated feature film of the same name. The music for the film is Michael Giacchino's fifth collaboration with Pixar as a composer. Walt Disney Records released the soundtrack on June 16, 2015.

To download the easy alphanotes sheet music, look here. Enjoy!