NEW RELEASE for 2006 - BEST OF
BEST OF Liner Notes
You are listening to "POM-POM GIRL"
© 2006 Brian Frederick All Rights Reserved
1 - CRUISING LANE CRUISING LANE §
3:22
2 - RHODE REVERENCE/HEAVENLY LAKESHORE NIGHTS
2:13
3 - ODE TO PAUL LAKESHORE NIGHTS §
2:33
4 - 4 O'CLOCK SHORT STORIES
3:33
5 - LET'S GO! SHORT STORIES
2:30
6 - DOWNWIND LEG SHORT STORIES
2:40
7 - EAST & WEST SHORT STORIES §
5:00
8 - HOT POTATO SHORT STORIES
2:36
9 – AZALEA SHORT STORIES
4:46
10 - SURFIN' TURF SHORT STORIES
3:13
11 - SIDEWINDER LAKESHORE NIGHTS
3:14
12 - LAKESHORE NIGHTS LAKESHORE NIGHTS
4:43
13 - CANAL RIDE LAKESHORE NIGHTS
2:33
14 - STARS AND WATER LAKESHORE NIGHTS
5:33
15 - FULL AHEAD LAKESHORE NIGHTS
2:37
16 - OH ! HILL CLIMB
4:11
17 - POM-POM GIRL HILL CLIMB
2:04
18 - SAD AND TRUE HILL CLIMB
3:33
19 - SURF STREET/HIGHWIRE HILL CLIMB
4:28
The Best of Brian Frederick is a compilation of the artist’s favorite songs and most popular tunes from his previous four CD’s, Cruising Lane, Short Stories, Lakeshore Nights, and Hill Climb. This new CD showcases Brian Frederick’s eclectic style, a unique fusion of jazz, pop, rock and roll, and, at times, Classical. An entirely self-taught artist, many, varied influences can be heard in his music. His earliest pop influence came from Herb Alpert and the Tijuana Brass and Julius Wechter's Baja Marimba Band. Their style is echoed in Brian Frederick's use of horns and marimbas, particularly in the song, OH!. Jango Reinhart, Joe Pass, John McLaughlin and his Mahavishnu Orchestra, Larry Coryell, Eric Clapton, Carlos Santana, Pat Metheny, Pat Martino, and Mark Knopfler number among his favorite guitarists. Their signature styles are apparent in Brian Frederick’s guitar work on his Best of CD. The Surf Influence of groups like the Ventures and Los Straitjackets can be heard in AZALEA, SURFIN' TURF, POM–POM GIRL, and SURF STREET/HIGH WIRE. To quote the artist "Anyone with an electric guitar in the 60's had to learn how to play WIPEOUT and bend down the chords." An avid, life-long student of all styles of music, Brian Frederick has also been influenced and inspired by Classical composers, J. S. Bach chief among them.
The earliest songs on the Best Of CD feature clear, simple structures, major keys, and a single style. CRUISING LANE, RHODE REVERENCE, and DOWNWIND LEG are prime examples of this early style of composition. His later works make more use of minor keys, slower unaccompanied introductions, and an almost unexpected combination of musical styles and tonal color. They also contain more complicated structures using repetitive melodic motives and more variation and improvisation with the lines between chorus and verse often more blurred. AZALEA, SURFIN’ TURF, SIDEWINDER, LAKESHORE NIGHTS and OH! Fall into this later category. Interestingly enough, the most recent works on the Best Of CD, POM-POM GIRL, SAD AND TRUE and SURF STREET/HIGHWIRE return to the simpler structures of Brian Frederick’s earlier works, yet retain the more complex musical elements of combining different styles and tone colors, use of repetitive melodic ideas, variation.
There are other musical elements in Brian Frederick’s songs that cut across these chronological lines. A three- or four-part rock format is a favorite small instrumental combo of the artist and can be heard in LET’S GO, HOT POTATO, AZALEA, and FULL AHEAD. The majority of Brian Frederick’s songs are in 4/4 time with ODE TO PAUL, which is in 3/4 time, as the singular exception. Most of the songs on this CD are in some type of a chorus, verse, chorus format. However, STARS AND WATER, OH! and EAST & WEST are not. STARS AND WATER is a theme and variations while OH! makes use of two related melodies in a sectional structure. EAST & WEST is in three-parts, ABA. The A section is more free form while the B section focuses on a repeated melody, that is connected by bridge sections. Many of Brian Frederick’s songs are in a major key. AZALEA, SIDEWINDER, LAKESHORE NIGHTS, POM-POM GIRL, and SURF STREET/HIGHWIRE are all in a minor key. Although RHODE REVERENCE is in a major key, its 2nd verse and ending are minor. In an interesting side twist, one would expect a song titled SAD AND TRUE to be in a minor key, but it is not. Most of Brian Frederick’s songs begin with some type of introduction section. These sections can range from a very short, repeated rhythmic figure to a slow variation of a melody. RHODE REVERANCE and FULL AHEAD are the only two songs on this CD that do not have an introduction of any kind.
Brian Frederick’s music is self-produced and, up until the Best of CD, he played every part himself. On this CD, he breaks with tradition by collaborating with flutist, Wendy Herbener Mehne on three songs: CRUISING LANE, ODE TO PAUL, and EAST & WEST. The addition of the flute to his usual guitar and synthesizer mix lends an interesting, new dimension to his sound.
Although Brian Frederick’s music can defy categorization, all of his songs display those qualities found in the best of instrumental popular music: the ability to create atmosphere and poetry without lyrics. His use of instrumental color, creative combination of sounds, conversational guitar style (which can be so close to the human voice it almost wails at times) picturesque melodies, and subtle nuance effectively tell stories without words.
Wendy Herbener Mehne
January, 2006
© 2006 Brian Frederick Music
Compositions: Brian Frederick
Instruments, synth and effects: Brian Frederick
§ Guest artist Wendy Herbener Mehne plays the Brannen-Cooper flute
Recording, effects processing and mixing: Dana Sound Studio
Post production and distribution: DISCMAKERS©
TRACK NOTES
1 - CRUISING LANE is the oldest tune on the Best of CD. This is the third version of the original song, and, in a radical departure, has the addition of a flute track. The title is a reference to driving on a fast expressway. The major key, breezy melody, and initially relaxed rhythm that becomes more energetic are reminiscent of passing cars and a fast, smooth ride.
2002 CRUISING LANE
Roland XP-80 synthesizer
Brannen-Cooper flute §
2 - RHODE REVERENCE─Heavenly - RHODE REVERENCE first appeared on the Cruising Lane CD. Its title came from the Rhodes 88 electric piano sound featured in the keyboard part and the reverent sound of the pipe organ heard at the end of the original song. On Lakeshore Nights, an electric lead guitar part was added in place of the cathedral pipe organ to create the "Heavenly" version. Replacing the organ part with an electric guitar rendered the "Reverence" theme moot, but the song title stuck.
2004 LAKESHORE NIGHTS
Fender Telecaster, lead guitar
Fender bass
Roland XP-80 synthesizer, “Heavenly” guitar and drums
3 - ODE TO PAUL was written as a ballad to celebrate a life and is dedicated to a friend who died too young. ODE TO PAUL first appeared on the Lakeshore Nights CD. This second version adds two new parts¾flute and lead guitar. The flute is featured in the outer sections of the song, playing a Celtic-like tune in 3/4 meter. The middle section of the song features a blues/jazz guitar solo that creates an interesting contrast between two seemingly unrelated styles.
2004 LAKESHORE NIGHTS
Fender Telecaster, lead guitar
Ovation, rhythm and melody guitar
Fender bass
Brannen-Cooper flute §
4 - 4 O'CLOCK opens with a short, repeated melodic figure imitative of a mechanical clock. After four repetitions of this figure, the guitar plays the chiming of the 4 o'clock bell to signal the end of the working day. The conversational style of this song contrasts a chorus played either in unison or octaves with the solo guitar verses. The opening melodic figure appears throughout the song, serving as the melody in the chorus sections and an accompaniment for the guitar solos. The melody guitar part is played on an Ovation guitar, "de-tuned" to D for a fuller sound.
2002 SHORT STORIES
D-tuned Ovation guitar, clock and back-up guitar
Fender bass
Roland XP-80 synthesizer, jazz drums
5 - LET'S GO! is a high-energy song that borrows the guitar sounds of the Allman Brothers Band. Written in a four-part rock format¾two guitars, bass and drums¾the lead guitar was played on a Fender Telecaster with lots of sustain and compression. The chorus of this song features two-part harmony between the lead and rhythm guitar parts.
2002 SHORT STORIES
Fender Telecaster, lead and rhythm guitars
Fender bass
Roland XP-80 synthesizer, rock drum set
6 - DOWNWIND LEG was inspired by the great feeling of sailing into homeport after a long time away. The major key, 4/4 meter, and rhythmic energy all contribute to the musical representation of this feeling. The song begins with a brief introduction followed by a chorus, verse, chorus, structure and ends with the music from the introduction. DOWNWIND LEG is one of several nautical references that appear in the artist’s song titles, a reflection of his love of sailing.
2002 SHORT STORIES
Fender Telecaster, lead guitar
Ovation, rhythm guitar
Fender bass
Roland XP-80 synthesizer, orchestra and percussion
7 - EAST & WEST was written in 2001 after the 9/11 attacks. This song combines the voices of East and West in a musical attempt to bridge differences between two extremes. The opening and closing improvisational sections represent the East. The West is represented by a rhythmic, Bach-like melody, subdivided in three, which is played on the guitar, flute and organ. The original version of East & West first appeared on the SHORT STORIES CD. This second version has the addition of a flute track.
2002 SHORT STORIES
Ovation guitar, melody and harmony
Roland XP-80 synthesizer, all winds except flute
Brannen-Cooper flute §
8 - HOT POTATO is a song that is just plain fun to play. This tune was written in a four-piece rock format using the Telecaster, drums, bass guitar and rhythm guitar. The melody from the opening chorus appears throughout the song serving as an accompaniment to several of the verses. One can hear the influence of both Larry Coryell and Jerry Garcia in the lead guitar lines.
2002 SHORT STORIES
Fender Telecaster, lead and rhythm guitar
Fender bass
Roland XP-80 synthesizer, drums
9 - AZALEA, a surf tune, named for a beautiful flower, may take you back to a Southern rock and roll tune of the 1960's. This song opens with a slow unaccompanied version of the chorus. The chorus itself is in a minor key and often played in unison. This alternates with solo verses, usually in a major key and played by the lead guitar. AZALEA features Fender jazz bass solo style inspired by Stanley Clark, who hit the fusion scene in the early 70’s.
2002 SHORT STORIES
Fender Telecaster, lead guitar
Fender jazz bass
Ovation guitar
Roland XP-80 synthesizer, drums
10 - SURFIN' TURF – another surf tune, this song feels like surfing on turf. With the drum shuffle and the 60's rock organ, SURFIN' TURF delivers a whimsical combination of surf/country/tex/blues/rock/carib styles¾it's a virtual musical potpourri! Turn the volume up on this tune to hear the steel drum and rattles. A striking B-flat9 chord separates the choruses from the verses.
2002 SHORT STORIES
Fender Telecaster, lead guitar
Ovation guitar
Fender bass
Roland XP-80 synthesizer, brush drum set
11 - SIDEWINDER has a lot of coiling action, like the movement of a sidewinder--see if you can follow its progression. The minor key, use of a low “B” drone, the melody line played in unison with the bass, and the creative use of variation all contribute to the more exotic sound of this song. The great Larry Coryell influenced the lead guitar work.
2004 LAKESHORE NIGHTS
Fender Telecaster, lead guitar
Ovation, rhythm guitar
Fender bass
Roland XP-80 synthesizer, pop drum set and “Sticky Rhodes” keyboard
12 - LAKESHORE NIGHTS was inspired by the sounds of cars cruising Chicago's Lake Shore Drive and the cool, fresh breeze at the edge of Lake Michigan after a hot, summer day. The guitar sound shows the influence of Wes Montgomery, who popularized the use of octave notes when playing the lead line. This signature style, along with the minor key, combination of instrumental tone colors, and bass solo help create the sultry atmosphere of this song.
2004 LAKESHORE NIGHTS
Fender Telecaster, lead guitar
Ovation, rhythm guitar
Fender bass
Roland XP-80 synthesizer, drums
13 - CANAL RIDE was inspired by a visit to Amsterdam, where the first thing one should do is take a canal ride to get oriented to the city, and then go to Leidseplein to get disoriented. Canal boats negotiate the canal crossing from left and right. In CANAL RIDE the Fender Telecaster and Ovation imitate this type of criss-crossing by trading off the lead guitar lines. This song opens with two chords a note apart. This musical motive appears throughout CANAL RIDE as either the melody or accompaniment.
2004 LAKESHORE NIGHTS
Fender Telecaster
Ovation
Fender bass
Drum sequencer
14 - STARS AND WATER represents the image of being out on the ocean far from landfall. At night, there are only stars and water. It is very peaceful and awe-inspiring. When sailing away from the coast, one acquires a keen appreciation for nature, its power and grace. The use of rhythm, simple chords, evocative tone color, and lyrical melody all contribute to the musical atmosphere of STARS AND WATER.
2004 LAKESHORE NIGHTS
Fender Telecaster, lead and rhythm guitar
Fender bass
Roland XP-80 synthesizer, orchestra
15 - FULL AHEAD is a nautical term for full thrust forward. Although this song is simple, the title also refers to the driving sound of the drums moving the tune "full ahead." This song, written for lead guitar, bass guitar, and drums, is another example of the artist's favorite rock format, this time in three parts. The song moves between major and minor and shows the influence of both Larry Coryell and Pat Metheny in the guitar work.
2004 LAKESHORE NIGHTS
Fender Telecaster, lead guitar
Fender bass
Drum sequencer
16 - OH! is a trumpet instrumental tune inspired by the sounds of Herb Alpert and the Tijuana Brass. This song came together very quickly and uses a drum sequencer. The drumbeat in combination with the trumpets was a surprise sound to the artist, thus the title, OH! This song features a detailed, active drum and bass line under long trumpet lines, as well as minimalist style, and the influence of Carlos Santana.
2005 HILL CLIMB
Fender Telecaster
Fender bass
Drum sequencer, hip-hop drums
Roland XP-80 synthesizer, trumpet
17 - POM-POM GIRL was written about a hopeless longing for the high school pom-pom girl. Flying through the air, she was strong, fearless, and beautiful. She is a manslayer. The surf theme emerges in this song. The minor chorus erupts with brash chords backed by keyboard harmony and is contrasted with verses in a major key. POM-POM GIRL could have lyrics, but easily tells its story without words.
2005 HILL CLIMB
Fender Telecaster, lead and rhythm guitar
Roland XP-80 synthesizer, horns, bass and drums
18 - SAD AND TRUE - Appropriately titled, it is sad and it is true. The slow tempo, low-key rhythm, unexpected use of a major key, and wistful melody pull at the emotions. The slide guitar adds a mournful bluegrass sound to this sad song. SAD AND TRUE is written in a four-part rock format.
2005 HILL CLIMB
Fender Telecaster, lead guitar
Fender bass
Fender Telecaster, slide guitar played lap style
Roland XP-80 synthesizer, Rhodes electric piano and drums
19 - SURF STREET/HIGHWIRE is the newest song on the Best of CD. It is imitative of the circus band music that often accompanies the high-wire act. With each verse, an even more thrilling stunt is added. A simulation of the circus calliope is contrasted with the sultry, 60's "surf" sound of the lead guitar. The song opens with a tension-producing chord progression under a minor melody that is contrasted with a surf-influenced major section. An almost Spanish-sounding trombone melody appears in the opening with a bass solo featured later in the song.
2005 HILL CLIMB
Gibson Les Paul, lead guitar
Fender Telecaster, rhythm guitar
Roland XP-80 synthesizer, trombone, steel strings, calliope
Drum sequencer, percussion
Egg shaker, hand percussion
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