The Five Bs; Bach, Beethoven, Brahms, The Beatles and Billy

The Five Bs; Bach, Beethoven, Brahms, The Beatles and Billy

After the Liverpool Invasion, my family and I moved to Arcadia. This was at the beginning of 4th grade for me. I wasn’t happy about leaving my friends in La Canada behind but I was soon to make new friends.

Among my new friends were our new next door neighbors, Billy and his sister Andy. Arcadia was very ‘White Bread,’ so Billy and I had to be very inventive to keep ourselves entertained, which was not a big problem, except that it usually landed us in trouble of one kind or another.

Outside of getting along great, Billy and I were very competitive regarding certain topics. It seemed a bit random but we chose them nevertheless. For example Billy liked Chevies and I liked Fords. We were very adamant about these rivalries and frequently had long arguments over them.

One of the topics we were divided on was music. Billy was for rock ‘n’ roll, The Beatles and The Monkeys while I was strictly classical; Beethoven, Bach and Mozart. Brahms came much later, actually.

Billy took piano lessons, so I started on the violin. I had the stuck-up attitude of the classical musician; that rock ‘n’ roll was a debased form of music that couldn’t be taken seriously.

I had to admit to a steady curiosity about this popular music, especially The Beatles. I always listened to the latest Beatles album with Billy. They were usually his older sister’s albums and we even scratched up the Magical Mystery tour album by playing it backwards to search for clues regarding the rumor that Paul was dead.

I remember Billy telling me I had to see this new T.V. show called The Monkeys. This, I just didn’t get. 

In junior high, the allure of rock’n’ roll began to grow especially with it being in the domain of the ‘cool kids.’

In high school, I started getting high and faking my involvement with rock ‘n’ roll, even though I still had no clue as to who most of these groups were.

In music school my association with pop music would change from a desire to be cool to utter revelation.

The Beatles in our Living Room

The Beatles in our Living Room

When I was just a tyke, somewhere around first grade, my family and I would gather in our living room on Saturday nights for our weekly television watching ritual. This included some cartoon shows, like The Flintstones and such but it also included the Ed Sullivan show.

My parents sat in their comfy chairs towards the back of the room and I always sprawled out on the floor directly in front of the T.V. I still remember how Ed would start the show by saying he had ‘a really big shoe’ for us that night. I can remember some of the regular acts which included Lamb Chop and the little Italian mouse Topo Gigio.

So you can imagine our shock and awe when, one night in 1964, Ed introduced a musical band from Liverpool called The Beatles. I had only a faint notion of what rock ‘n’ roll was, from listening to my little turquoise blue transistor radio. My mainstay in music, to that point, had been Beethoven and Bach.

I really could not make heads or tails out of what The Beatles were doing except that all the girls in the audience were screaming, something I found bizarre and amusing.

When I turned to my parents to register their amusement over the spectacle, such was not the case. One would have thought a bomb had gone off in our living room from the horrified looks on their faces and their utter silence. They obviously understood it no more than I did.

Much, much later in my life, I would find out that my father, being an aerospace engineer and working on defense contracts had a high security clearance and the employees had already been indoctrinated with the idea that sex, drugs and rock ‘n’ roll were being used by the communists to undermine our great western democracy. I suppose there was some truth to this, given Chairman Mao and his Red Guard who were young people on a mission to destroy all establishments.

Nevertheless, from that point on, there was no escaping The Beatles. They were a hot item for discussion, even among my little first grade girl friends Genie and Mary who would argue over which Beatle was the cutest or said the funniest things. It was deep stuff, to be sure.

 

Confessions Of A Real Life Linus

How I Discovered Music

Beautiful nature

I grew up in sunny Southern California, first living in South Pasadena and then, at around the age of five, we moved to La Canada. This was originally a little hamlet tucked into the foothills next to Pasadena, before they put the 210 freeway through.

At that time, La Canada was a very rural place and, to me, actually quite magical. There were large groves of Oak trees and a wilderness sort of park next to a swamp, which was bordered by the Jet Propulsion Laboratories, or JPL.

It was here that I discovered my intense love of nature, spending countless hours romping through the park or the foothills. I was infamous for carrying about live creatures in my pocket; a legless lizard, a turtle or a frog or two. I would always ask whatever hapless adult neighbor I saw if they wanted to see ‘my critter.’  In the spring, when the tadpoles hatched at the park, my friends and I would carry buckets full of frogs back home. The park has now, alas, become a frisbee golf course and the swamp has been drained.

I was an early reader and had decided that Dick and Jane had no discernable literary motives and had begun to read the works of Jules Verne and Mark Twain.

My father also had a rather neglected record collection, consisting of a mixed bag of classics to popular things like Herb Alfred And The Tijuana Brass. I was actually the only one who ever played the records and, one eventful day, I picked out a record quite randomly. It was in a very plain green album cover and the company was Angel Records.

Well, this happened to be a recording of Beethoven’s 6th Symphony and, if you’re not familiar with it, it’s called The Pastorale because each movement depicts a different scene in nature.

This was a transcendental experience for me. I didn’t need to read the record notes to know what this music was about and this started my long standing love of the classics, Beethoven in particular, since we were kindred souls in our deep love of nature.

A Brief History Of Rock 'n' Roll

The History Of Rock ‘N’ Roll

Excalibur

The Oxford School Dictionary defines Rock ‘n’ Roll as; “a kind of popular dance music with a strong beat, originating in the 1950s.” But let’s dig a little deeper, shall we?

This same dictionary gives two verbal definitions of rock; 1; “to move gently backwards and forwards or from side to side; to make something do this.” 2; “to shake someone or something violently.”

And, in the same book, the first verbal definition of roll; “to move along by turning over and over, like a ball or wheel; to make something do this.”

One could postulate, literally a large rock or boulder, embedded into the ground at the top of a hill and some force comes along to rock it, gently backwards and forwards or from side to side, until it becomes loose and moves along down the hill by turning over and over like a ball or wheel, perhaps dislodging other rocks in its path and causing an avalanche. Movement. Change in the environment.

We’re looking at a catalyst of some kind that causes formerly immovable objects to start to break loose and begin to move. 

One could postulate all sorts of immovable objects; immovable social objects such as wall flowers or hopeless introverts. There could be immovable ideas or attitudes.

Many of these did break free and begin to move in the brief history of what we called Rock ‘n’ Roll. Questions were asked, ideas were challenged. The status quo was questioned.

Perhaps this is why Rock ‘n’ Roll will never die; because we are talking about a social catalyst, rather than a specific person or musical group. These actors upon the stage were caught up in the movement themselves.

When did this movement begin? Oh, much earlier than the 1950s. And it begins anew whenever and wherever Excalibur is pulled from the stone.

Alternative Rock

What Is Alternative Rock Music?

This is a rather interesting case history as Alternative Rock was a direct response to what was seen, at that time, as the commercialization of Rock and Pop music. I have previously posted

articles on this blog having to do with what was originally a counter culture effort being seized and utilized by business interests.

This was simply big business recognising that a market existed in the supposed youth culture and effectively attacking it to the point where the youth culture reigned supreme and other age groups became marginalized.

Alternative Rock can properly be considered a subgenre of basic Rock n’ Roll. It began in the nineteen seventies and became more popular in the eighties and nineties. Some of the groups that got the ball rolling, so to speak, were R.E.M., The Smiths and Nirvana. Wikipedia has a very detailed article about this era. 

In defining what they were doing, Alternative Rock groups introduced different other musical elements into the rock format, stylistic types of things such as Punk Rock, Hard Rock and Folk. 

The basic sound of this movement contained hard driven guitar, experimental kinds of vocals, alternative time signatures and variations on the basic verse, chorus, verse that was the standard song form in Rock and Pop.

As a response to the commercialization of Rock and Pop, Alternative Rock became the new voice of cultural defiance and social commentary.

Equally important was the recognition that, as good as a particular musical movement may have been, there is always a need to move on to something else, rather than keeping on with the same thing. This is the story of music history. Great composers always saw the need to change things up from what was going on previously. Those who simply followed the current trends were quickly swallowed up by history.

Artist Spotlight/Michael Moore/New Release

 Michael Moore was previously featured in an Artist Spotlight and now he's back with a new EP called Winter Solstice, which is going to be released on December 6th.

“Winter Solstice” captures both the quiet beauty and the electric energy of winter’s longest night, weaving together a tapestry of sound that reflects the essence of the season. The delicate yet expressive piano compositions serve as a guiding force, inviting listeners to traverse vast snowy landscapes. From the serene stillness of a frozen dawn to the exhilarating anticipation felt as a winter storm approaches, each note echoes the diverse experiences winter has to offer. Some pieces stir the soul with the intense imagery of snow whipping through dark skies, while others settle gently, evoking the soothing, tranquil glow of candlelight at twilight. Every track is meticulously crafted to highlight a different facet of winter, striking a harmonious balance between melancholy and hope. In doing so, it encourages listeners to pause, reflect, and fully embrace the contrasts that define this magical season.

The “Winter Solstice” EP, released on December 6th, 2024, features enchanting titles such as "Memories" and "Snowfall," alongside four newly composed pieces: "Solstice," "Starlight," "Family," and "Moonlight." Together, these six evocative tracks encapsulate the myriad emotions of winter, offering opportunities for contemplation and connection. Each composition beckons one to find solace in nature’s dramatic beauty, while simultaneously providing a musical retreat into the heart of winter’s embrace. As the melodies unfold, they weave a narrative that celebrates the season, making “Winter Solstice” an essential listening experience for all who seek warmth amid winter’s cold allure. So, whether you are cozied up by the fireplace or wandering through a snowy landscape, allow the rich soundscapes of Moore Music to envelop you and transport you to a world where winter’s magic reigns supreme.

Get the Winter Solstice EP

View the Winter Solstice EPK

Composers Who Went Against The Grain

Musical trends have long been a defining aspect of artistic expression, shaping the soundscapes of various eras. Today, platforms like Billboard and social media provide an almost instantaneous pulse on what’s en vogue in the music industry. However, this phenomenon is not new; it has existed throughout history, as evidenced by the vibrant music scene of the 1600s. At this time, J.S. Bach found himself at a crossroads, as the public's passion lay predominantly with Italian opera. In a period dominated by this trend, Bach chose to carve his own path, creating intricate compositions that emphasized counterpoint, the interplay of melodic lines. His refusal to conform ultimately paved the way for future luminaries like Mozart and Beethoven, allowing them to explore richer, more expressive musical territories.

Similarly, Wolfgang Amadeus Mozart encountered the constraints of trending norms in his time, particularly regarding opera. While the prevailing fashion dictated that operatic repertoire be sung in Italian, Mozart dared to pen his works in German, capturing the essence of his cultural identity. This bold choice didn't come without its challenges, as dramatized in the film "Amadeus," which highlights the tension between artistic vision and societal expectations. Meanwhile, Beethoven further defied conventions by experimenting with shorter melodic ideas while simultaneously expanding the formal structures of symphonic and chamber music. His innovative spirit inspired an entire generation and solidified his place as a key figure in the transition from the Classical to the Romantic era.

In a reflective juxtaposition, we see composers like Franz Schubert continuing to utilize the succinct forms of the Classical period, even as others lured by the allure of larger, more expansive pieces began to dominate. Tragically, both Bach and Schubert faced periods of obscurity; Bach's genius was largely unrecognized until the revival efforts led by Felix Mendelssohn, while much of Schubert's work lay unpublished and hidden away until posthumous recognition. Beethoven's famous assertion that his music was intended for the future speaks to the audacity and foresight of these composers, profoundly underscoring their awareness that their contributions would transcend the trends of their times. Their legacies serve as a testament to the power of artistic integrity, highlighting how unique voices not only challenged prevailing tastes but carved enduring pathways in the fabric of music history.

Third Stream Music

The other day I came up with the concept of ‘Third Stream Music,’ to describe what I was doing compositionally. By this I meant the stream of so-called ‘classical music’ combining with ‘pop’ or ‘jazz’ music. 

One cannot ignore the cultures behind these; one might be called ‘refined or civilized,’ and one might be referred to as ‘more primitive or freer.’ I really started thinking about these concepts when I heard a radio interview with the great Russian composer Igor Stravinsky who said something to the effect that he admired American jazz and was working to incorporate this ‘primitivism’ into his own musical compositions.

And I thought, well yes, hasn’t this been the conflict all along? Both sides have their negative and positive aspects and each side is guilty of magnifying the negative aspects of the other; you can be ‘civilized’ into a slave state and ‘primitive’ just means they don’t know any better. Or does it?

I decided to Google ‘Third Stream Music’ because I felt that someone before had certainly also arrived at this terminology.

Sure enough; Gunther Schuller, who was a composer, coined the term in 1957 in a lecture at Brandeis University. You can read more about this here;  https://en.wikipedia.org/wiki/Third_stream

Critics on either side complained that Third Stream Music violated their ‘traditions’ and diluted the purity of their genres.

Interestingly, Mr. Schuller defined what Third Stream Music was not, going on to say it was not jazz with strings, jazz played on “classical” instruments, classical music played by jazz players, not inserting a bit of Ravel or Schoenburg between bebop changes-or the reverse (lol!), jazz in fugal form or a fugue played by jazz players. 

Curiously these are all things that have been tried in the past (mainly by the ‘classic’ camp as their audience began to desert them and symphony orchestras started going broke.) 

These sorts of efforts do fall flat. It’s kind of like putting a Rolls grill on a VW.

I don’t think you can just set out to mix the two. It has to come from a genuine intention to expand one genre or the other. That’s why I think Stravinsky was the most successful at it.

New Review on The Sounds Won't Stop

 I just got a great new review on 'The Sounds Won't Stop;

https://www.thesoundswontstop.com/dizzy-obrian

A Simple Change of Mind (The Power of Perspective)

This is something a little different. I heard a voice say 'a simple change of mind' in a dream and I decided to call my latest alternative rock track 'A Simple Change of Mind.' The video demonstrates this basic principle.

My Recent Interview on the Artist First Radio Network

 I recently had the pleasure of being interviewed on the Artist First Radio Network. We talked about how I went from 'strictly classical' to a creator of diverse genres like alternative rock. We also talked about my own experience running an internet radio station and the stories about big label rip-offs I heard from my own interviews. They also played several of my musical tracks. This interview is still available as a podcast, by following this link; https://media.artistfirst.com/ArtistFirst_Music_Special_2024-07-15_Dizzy_OBrian.mp3