After all, it’s in the verse that the writer should be freer, for in practical terms it’s the chorus that’s being sold or promoted.”īut then again, perhaps the problem with the song was that it was too far ahead of its time in 1934. But I find it very interesting, and I approve of its experimental nature.
Wilder continues: “It’s extremely difficult and very lush. It begins simply enough, but halfway through it’s almost as if the other musical side of the man couldn’t be silent and the rest of the verse was finished by Dukelsky.” Here Wilder is alluding to composer Vernon Duke’s “other” life as a composer of extended works. “The verse may be the most ambitious I’ve ever seen. It’s this very same verse that composer Alec Wilder, in his book American Popular Song, The Great Innovators 1900-1950, praises. I played it at one or two Westport get-togethers and found the listeners retreating to the bar in the middle of the verse.” Again from his autobiography he discusses the “premier” of the tune: “Both the long ‘conversational’ verse and the constantly modulating refrain contained not a particle of what the Harms (publishing company) moguls called ‘popular appeal’ the song was a genuine emotional outburst and, possibly, this genuineness accounted for its subsequent standard status. In his autobiography Passport to Paris Duke described the show as “a decent, average revue received decent, average notices.”ĭuke wrote “ Autumn in New York” while vacationing in Westport, Connecticut. Harold Murray, and the finale, “ Autumn in New York.” Only the latter remained in the show which opened on December 27, 1934, and closed five months later. Thirteen years later it rose to number 27 on the pop charts thanks to a fine vocal version by Frank Sinatra.Ĭhart information used by permission from Joel Whitburn's Pop Memories 1890-1954Ĭomposer Vernon Duke wrote three pieces for Thumbs Up!: a dance number for Hal Le Roy to tap to, a tango for J. Vernon Duke’s composition was written for the 1934 show Thumbs Up! and introduced by J. the song was a genuine emotional outburst and, possibly, this genuineness accounted for its subsequent standard status.” Not the most punk-rock thing we' ve ever heard: The Queens Economic Development Corporation used the song in a 2013 advertising campaign to draw people out to the beach.“. Sure, there aren't many lyrics, but in reliable Ramones fashion the power chords pound down like noontime rays. The leather-jacket-clad lads salute the shining sun and the ease of taking public transit (specifically the bus) to get out to the popular Queens hangout. Fortunately, it's not hard or far to reach in the Ramones' most successful US single by chart position.
Jonathan Zeller "Rockaway Beach," The Ramones (Rocket to Russia, 1977)įor fans of: Sun, fun, punk rock New Yorkiest lyrics: "Up on the roof / Out on the street / Down in the playground / The hot concrete" Why you'll pack your bags: It's a summer day, and Queens' favorite homegrown punk pioneers want to hit the beach. Below are 14 of the songs we think do the most to get people into the New York groove. And when you hear those songs, close your eyes and picture our great city, chances are you'll wish you were here. Whether getting into New York or Empire states of mind, singing odes to particular intersections or walking on the wild side, musicians have been belting out tributes to the Artist Formerly Known as New Amsterdam virtually since it came into being. We've heard others try to claim the crown, but to our ears the world capital of popular music has to be New York City-home to Tin Pan Alley and birthplace of American punk rock and hip-hop.
0 kommentar(er)
