Category Archives: Midi Backing Tracks

Great Balls of Fire

Posted by Dave Zobrist on

thSE725YHW  Download    There’s this thing in piano playing called a “gliss”, and Jerry Lee Lewis perfected it to an art form. A “glissando” is performed by sliding one or more fingers rapidly down or up the keys of a piano or strings of a harp.  Jerry Lee tended to use this technique a tad too much, but that’s what we call “flair”… I guess.  I tried to put in the exact same number of glissandos as he did on the piano track, but I think I overdid them too.  They’re addictive!

“Great Balls of Fire” became Lewis’ signature song, which was a perfect fit for his incendiary style (no pun intended).  Lewis was extremely reluctant to record this tune as it was packed full of sexual innuendo.  I suppose in 1957 that was a huge deal, especially since he had grown up in a very religious household.  Yet, the same month “Great Balls” was released, he married the 13-year-old daughter of his bass player – who just happened to be his cousin.  Hmmmmm…  so much for taking the high road.

Never mind all that.  This is a great ice-breaker if your crowd is getting a little sleepy – which, by the way, would be your fault.  So liven ’em up with this raucous piece and follow it with “Whole Lotta Shakin’ Goin’ On”, another of Jerry Lee’s number one hits.  If they’re still sleepy after these two songs, you better pack up and go home – it’s hopeless.

 

Me and Mrs. Jones

Posted by Dave Zobrist on

thDP8QBONI  Download Instrumental    Now, how does a song about marital infidelity ever get to be so popular?  Two reasons:  a slick arrangement and everybody loves a “forbidden” subject now and then.  Personally, I love the clever piano licks spread throughout the song like sprinkles on ice cream.  This one was fun to do.

“Me and Mrs. Jones – we got a thing going on”.  Yes, they certainly do.  They meet every day at the same cafe and must take care to make sure nobody knows she’s there.  This story line is unique in the fact that it’s told from the lovers point of view.  A hint about what’s coming up in the song lies in the 16 bar intro.  The saxophone plays the first line of the 1953 Doris Day hit Secret Love – “Once, I had a secret love”.  I also threw it in at the very last on the vocal (harmonica) track just for kicks.   Of course, if you weren’t of a certain age you would have never picked up on that clue.

A one-hit wonder by the name of Billy Paul recorded this one.  He only had this one success because he’s an idiot.  Take a look below at the official video of “Me and Mrs. Jones”.  The man never once takes that cigarette/joint/whatever out of his mouth.  An incredible feat, but extremely tacky. Also,  Michael Buble did a great cover of this one – worth checking out.

Take This Job…

Posted by Dave Zobrist on

th5EJF00A8  Download    One night, several years ago, my nightclub gigs came to an abrupt halt. After 30 years of making a decent living playing beach bars and clubs and Holiday Inns – with a couple breaks for ill-advised adventures – I finally decided that enough was enough. I wish I had been doing “Take This Job and Shove It” at that time but, unfortunately, I wasn’t. It would have been the perfect exit song that night.

It was a Thursday evening at a Gulf Shores beach bar.  Things were going nicely.  The first set was well-received and I was launching into my second set when three lawyers (regulars at the bar and quite drunk) approached the stage and demanded I do “Margaritaville”.   Well, I had done that song in my first set so I told ’em I would do it again “just for them” in the third set (I was being nice I really was).  That wasn’t good enough apparently and they became belligerent.  Since  I don’t react well to attitudes, an argument ensued and ended when one of the idiots poured a full drink into my keyboard.  They took off and it was then a little voice in my head said “No Mas!  No more of this kind of crap!  I’m done!”

So now I sit in my little studio and write backing tracks for other musicians and singers.  It’s so lonely in here – I don’t interact with sax players or drummers or guitarists – it’s so dark with the only light being a spot over the piano – no backup singers or stage managers – no crowd to entertain –  it’s just me now…..(sigh)…. I LOVE IT!!!!  So all you young players hitting those bars for the next twenty years, keep this sequence on file for that inevitable night when you finally get sick of it all.  What did I use for my last song on that final night?  “Good Bye Yellow Brick Road” by Elton John.  The significance escapes me now, but it seemed right at the time.

Take this job and shove it – I ain’t playin’ here no more…

[Country List]

Bridge Over Troubled Waters

Posted by Dave Zobrist on

th296HFTUD  Download Instrumental    Okay, maybe I went a little overboard on the orchestra on this one, but a song like this just screams for super dynamics. And that means violins, tubas, and oboes galore – love ’em!

It’s a rare phenomenon when a song – even a huge hit like “Bridge Over Troubled Waters” – has such emotional power that it affects people worldwide for generations.  Within a month of its release in January of 1970 it sailed to the top of the Billboard charts and stayed there for six weeks.  It was a time of turmoil in this country over the Vietnam War with protests in the streets that usually turned violent.  Paul Simon’s lyrics and music seemed to cool the savage beast of unrest and Garfunkel’s tenor joining in on the third verse brought a general feeling of “coming together”.  That’s the highlight of the song in my opinion – that third verse – “Sail On Silver Girl”!

Trying to exactly duplicate Simon’s arrangement is well nigh impossible, so I just went with what I felt.  That’s usually a mistake and results in over dramatization, but this still might work well for a singer in the right venue.  It’s fairly easy to sing as Paul Simon rarely ventures more than 5 or 6 notes from the tonic and it’s certainly recognizable.  Bring it out at the top of your last set and your crowd will sigh just a little when they hear “When you’re weary – feelin’ small”.  Gives a body goose bumps, it does.

King of the Road

Posted by Dave Zobrist on

thPNTPDZ8W  Download Instrumental    You should have a few “novelty” songs in your set list, just for fun (like I always say). These are goofy little songs that have no redeeming social value whatsoever and are arranged to please you – not to mimic the original artist.  “Don’t Worry, Be Happy” would be one of those tunes, and so is this Roger Miller classic.

Miller was inspired to write this song in 1964 when he was driving down a highway and saw a sign that read “Trailer for Sale or Rent”, which is the opening line of this crossover hit.  The lyrics trace the day-to-day activities of a hobo who obviously revels in his freedom despite being poor and constantly on the move.  Ironically, he refers to himself as the “King of the Road”.

Most of the time, your crowd will sing along with this one, and that’s not a bad thing at all.  I used claps instead of finger snaps simply because it inspires more audience participation.  Finger snaps are just too cool and beatnik-like to get an audience to join in.  Besides, not everybody can snap their fingers with authority, but everybody can clap – or at least pound on something.   The wood blocks give it a slightly “horseback riding” feel, but I think it works.  Trot this one out (no pun intended) for your toughest room and watch them have fun with it.  That’s what it’s all about, folks.

Good-Hearted Woman

Posted by Dave Zobrist on

thTI6RMHRP  Download Instrumental    Country music was never my style, but I do enjoy throwing one in the mix now and then. This is one of my favorites just because it’s fun… and I love fun!

Waylon Jennings began writing “Good-Hearted Woman” while staying at a Ft. Worth, Texas motel in 1969.  He had read an article in a magazine about Tina Turner -“a good-hearted woman loving two-timing men” – a reference to Ike Turner.  Just so happened, Willie Nelson was at the same motel (what are the odds?) and Jennings sought him out to tell him about this song he wanted to write.  He found Nelson in a poker game, joined the table, and the two men took turns throwing out a line at each deal of the cards while Willie’s wife furiously wrote down the lyrics.  When Jennings drew to an improbable inside straight, he got his inspiration for the hook of the song.  “Say, Willie,” (he called him Willie), “what say we change it from two-timin’ to good-timin’ man – sounds friendlier somehow”.

Now you know the rest of the story…

See Waylon and Willie and Chet do the song below:

http://www.bing.com/videos/search?q=waylon+and+willie+good+hearted+woman&view=detail&mid=01A304D82121CE20CBED01A304D82121CE20CBED&FORM=VIRE

Savin’ All My Love

Posted by Dave Zobrist on

thI6THU4E6  Download Instrumental    Whitney Houston – not my favorite singer. In fact, when I hear one of her songs on the radio, it’s a scramble to turn it OFF!  Beautiful voice, sure… but it’s the incessant screeching and screaming she insisted on inserting into every song that I can’t take.  And don’t even talk to me about “I Will Always Love You”.  The only thing worse than Houston is Dolly Parton warbling that irritating melody.  I know, there are those of you out there who absolutely adored Whitney and I humbly apologize.

However, “Savin’ All My Love for You” is one of my favorite songs ever and it was Whitney’s first hit – even won her a Grammy in 1985.  I remember the first time I heard it.  “Who is THAT?” was my first thought.  The vocals were so velvety and crystal clear – the music tight and professional – the arrangement just perfect.  I was an instant fan but, unfortunately, it went downhill from there…. at least for me.  She never did another song I liked… and some I hated.  But I still cling to this one and every singer I’ve worked with since ’85 has agreed to perform it – and it didn’t take much persuading.  So, all you new singers without a band, put this one in your repertoire.  The backing tracks are on the Pop/Rock list.

What was most fun about putting this one together was the tenor sax toward the end.  There’s not a sweeter sound in the whole world than a tenor saxophone played by someone who understands the complexity of the instrument.  My keyboard sax voice doesn’t even come close to the real thing.  Wait, I take that back – it does come close – especially when it reaches that high “A” at the end along with the lead. But I really miss playing along with a real sax player.  Maybe I need to put the band back together.

Fifties Fun

Posted by Dave Zobrist on

thDWKN73OQ  Download    Hip-Hop and Rap are about numbing your mind and not having to think.  This music (and I use the term loosely) is bland and uninteresting and totally uninspired.  It grates on your nerves like scraping your fingernails across a chalkboard.  Rap lyrics are either stupid or violent or disgusting… and sometimes all three.  The beat and hard bass line are designed to lull your senses into a dull fog from which you can never escape.  Wait a minute… isn’t that disco?  I believe it is!  And that, folks, is when music began it’s downhill slide.  I blame “Saturday Night Fever” for all the woes of the world.

But before that there were the 40’s, 50’s, and 60’s – the three decades when music was at it’s best.  There was love and hope and innocence and sometimes even politics – and it was fun!  So I was excited when I got a request to do a simple medley of  2 or 3 tunes from the late fifties.  I chose “You Send Me” and “Silhouettes” as the primary melodies and threw in two others just to keep the singer on her toes (see if you can pick them out).

As in all good medleys, you want to keep the songs similar in style and composition so the flow is smooth from one to another.  You can do that by just playing the same four chords over and over again (style of the 50’s).  Wait!  Isn’t that bland, uninspired and mind-numbing???  Oh, no!

Andy? Why Not?

Posted by Dave Zobrist on

th1QHAYKZM  Download    Since the Andy Griffith Show theme song is the second most recognized tune in the country (just behind “Happy Birthday”),  I thought why not make up an arrangement and use it as a fun thing on a gig.  And, in case you didn’t know, it has lyrics!  This song just makes me happy when I hear it.

It’s actually called “The Fishin’ Hole”.  Here are the words – sing along:

“Well now, take down your fishing pole – and meet me at the fishing hole

We may not get a bite all day – but don’t you rush away

What a great place to rest your bones – and mighty fine for skipping stones

You’ll feel fresh as a lemonade – a-setting in the shade

Whether it’s hot – whether it’s cool

Oh, what a spot – for whistlin’ like a fool

What a fine day to take a stroll – and wind up at the fishing hole

I can’t think of a better way – to pass the time of day

(Guitar solo)

Hangin’ around – taking our ease

Watching that hound – a-scratching at his fleas

I’m gonna take down my fishing pole – and meet you at the fishing hole

I can’t think of a better way – to pass the time of day”

[End]

Who knew there were actual words?  In my opinion, if all’s well with Andy, all should be well with the world.  Or maybe we all just need to get back to Mayberry.

[Country List]

 

For The Good Times

Posted by Dave Zobrist on

th533SER4Q  Download with Lead    If you need a good, solid country classic in your act, this is the one.  “For the Good Times” is not your typical “cling to each other on the dance floor at two in the morning in your local honky-tonk” kind of country tune.  The music itself is a cut above the usual chord progressions of country music, and the lyrics are downright eloquent.

“Don’t look so sad – I know it’s over… but life goes on – and this old world will keep on turning… Let’s just be glad – we had some time to spend together… there’s no need to watch the bridges – that we’re burning”.  And the words just get better and more intense from there.  Beautiful, sad, mournful and forgiving only begin to describe the story Kris Kristofferson penned so many years ago.  “Don’t say a word about tomorrow – or forever… there’ll be time enough for sadness – when you leave me”.  Oh, man… that’s just heartbreaking (and my tongue is NOT firmly planted in my cheek) – I love this song!  And I’m hoping the next generation of singers and performers will reach back in time and grab this one for their own.

This arrangement begins with primarily vocal (harmonica, in this case) and a guitar, then slowly builds from there into a full Monty of instruments at the end.   It’s my favorite way to arrange music – sorta brings out the “drama queen” in me (more drama than queen, mind you).  Sing this one with the feeling it deserves and you won’t have a dry eye in the honky- tonk, I promise.