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Notes by Mike Batt - 14/5/03
The Planets, as a band, were formed in early 2001
and their first album, 'Classical Graffiti' was
released on EMI in February 2002, going straight
into the UK classsical chart at number 1 and staying
in that position for a full three months. The
eight piece band - who perform using a mixture
of electric rock and classical techniques and
influences, are the most musically stimulating
band to come via the crossover/fusion genre that
seems to have been founded on Vanessa and continued
through Bond. (Actually my idea to form them came
more from eighties band SKY and Dutch band FLAIRK).
This step involved moving away from the backing-tracks-and-hairspray
approach to classical pop fusions, and finding
a band who could really play live, without any
extra audio being pumped in there with them. The
effect is thrilling (but it's a pity that I should
need to comment on the uniqueness of this unassisted
live ethic - it being so unusual). As I write
this note on 14th May 2003 we have just completed
a short tour of the States. Last year we were
in Japan and South East Asia generally, and the
band are currently stronger than ever. New oboist
Anna Pennington, from Texas, and bassist Lucy
Shaw have stepped it all up a notch, and the recent
half hour TV special for MHZ - performed live
from start to finish - is a testimonial to how
good they have become.
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A
track by track guide to Classical Graffiti
1. Rodrigo (Joaquin Rodrigo) Adapted from "En Aranjuez
Con Tu Amor"
This is the first single, and is based on the famous
tune from the Rodrigo "Concerto de Aranjuez".
Originally written as an Adagio, we break into a faster
tempo after the original exposition, played on cor anglais
by Salima. After the slow intro, Ben takes the lead
on electric gtr, and the tune is subsequently taken
up on violin and flute. A flute counter tune appears
later, and this new tune is also played by Ben on electric.
There is a dance remix by Work In Progress, but this
is not on the album.
2.
Carmen Caprice (Batt, after Bizet)
Like most of the pieces and rearrangements on this album,
I arranged this especially for The Planets. It is based
on tunes from Bizet's famous opera "Carmen".
Sometimes several of the tunes are played together,
and I have added my own tunes in order to provide links
and counter tunes to the originals.
3.
Grassland Theme (Batt)
Ruth in fine form on flute, with Anne playing finger
style classical gtr in accompaniment. this has a folksy,
possibly Irish flavour.
4.
Classical Graffiti (Batt)
This is my personal favourite track as it embodies heavy
rock roots (in the gtr rifts) and an aggressive classical
style leading to a jazzy middle section in 5/4 time.
5.
Love In Slow Motion (Batt)
A love theme, beginning on classical gtr played by Ben,
and taken up by Jonathan on solo violin.
6.
Brandenburg Variation ( Bach, adapted and arr:Batt)
This piece (Brandenburg Concerto no. 3, First Movement)
was added after the main album was finished, because
we wanted to add more "classical" pieces.
It is arranged in such a way as to provide a lively
conversation between all of the musicians. Ben and Anne
both play classical gtrs. Ben doubles his part on electric
for this version, and Mike plays light percussion together
with a drum loop which enters gently halfway through.
7.
The Journey Of A Fool (Batt)
Originally written as one of the pieces on my 1978 album
"Tarot Suite", this piece is re-orchestrated
for The Planets. Jonathan and Lac-Hong both overdubbed
themselves to provide more string parts in one or two
sections. This is one of the more popular pieces in
The Planets live concert.
8.
Claire de Lune: (Debussy, adapted and arr: Batt)
An adaptation of Debussy's famous piece, demanding a
high standard of musicianship from every member of the
band. Plaintive oboe from Salima and pyrotechnics from
Jonathan and Ruth.
9.
He Moved Through The Fair (Trad arr: Batt) - vocal:
Beverley
Beverley sings this traditional Irish folk song, in
her clear folkey soprano voice, whilst playing the double
bass several octaves below. The classical gtr solo is
played by Anne.
10.
Contradanza (Batt)
originally wrote this for Vanessa Mae. Rhythmically,
it owes a lot to heavy blues bands such as Status Quo
and ZZ Top, but stylistically it also owes something
to Vivaldi. A lot of the weight is taken by Jonathan
on violin and Ben takes the solo on electric gtr.
11.
A Letter From New England (Batt)
Despite the title this was written in old England, not
new England. It is a fantasia which floats between several
nostalgic moods and reminded me of a visit to New England.
This piece, although containing important contributions
from everybody, particularly showcases Lac-Hong on cello.
12.
Bolero Fantasy (Batt, after Maurice Ravel)
I have called this "Bolero Fantasy", rather
than "Bolero" because, while keeping to the
form of the Ravel original, it departs substantially
from it, melodically. The departure begins with Jonathan's
ricochet accompaniment to Ruth's flute and Salima's
oboe melody. While the development of the original Ravel
piece is principally dynamic, this development is primarily
melodic.
13.
A One Minute Silence (Batt/Cage) - Classical version
1.00
I have nothing to say about this track.
Bonus
Tracks:
14. Carmen Caprice (Batt, after Bizet) - Acoustic version
This and the following three tracks were originally
produced at the request of Classic FM radio station.
The electric guitars are replaced by classical guitars
and any drums and heavy production has been minimised
to reveal a purer classical treatment of the material.
15
Brandenburg Variation (Bach, adapted and arr: M Batt)
- Acoustic version
See note about track 14.
16.Bolero
Fantasy (Batt, after Maurice Ravel) - Acoustic version
See note about track 14.
17.
Christmas Thingy (Batt)
A Christmas composition based on "I Saw Three Ships,
in dulce jubilo" and "We Wish You A Merry
Christmas", this was originally composed for Classic
FM and was subsequently included in The Planets Christmas
card for 2001. There were two versions - a pop version
and an acoustic classical version.
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