Unsolicited Opinions On The Yankees' At Bat Music

On Friday, Mark Feinsand of the Daily News talk to scoreboard operator Mike Bonner and wrote a post about the at bat music that each Yankee comes out to. Given how much we use music to enhance and bring life to our coverage of the team, it's only appropriate that we at least touch on it here.

I'm going to reproduce Feinsand's whole list but to add some value, I've linked up each of the songs to a YouTube video and made some snarky comments.

Position Players

Derek Jeter: “Candy” - Cameo

If you only watch one of these videos, make it this one. It looks like a spoof made by Chappelle's Show.

Nick Johnson: “Party in the U.S.A.” - Miley Cyrus

By now, you know that Johnson picked the song because his daughter likes it (and she has shitty taste in music).

Mark Teixeira: “I Wanna Rock” - Twisted Sister

A solid, straight forward classic rock tune. Fits Teixeira to a "T".

Alex Rodriguez: “On to the Next One” - Jay-Z

We used this one for a preview earlier this year mostly because I was stuck for ideas and the video is in black and white. It's alright, but I really don't enjoy what Jay-Z's style has devolved into. It seems like he now ends every line with a forced inflection. He's more about rhyming sounds as opposed to earlier in his career when he had more masterful wordplay and a steady, even-keeled delivery.

Robinson Cano: “Run this Town” - Jay-Z

This one also features Rhianna, Kanye West and some real distorted electric guitar. Better tune than the one A-Rod uses but not something I'm going to put on by choice.

Curtis Granderson: “Lookin’ for the Perfect Beat” - Africa Bambaataa

An old school rap song with a video almost as unintentionally hilarious as the one Jeter uses.

Nick Swisher: “Beat Street” - Grand Master Flash

It's got that typical, choppy, Grandmaster Flash "flow" to it. I would expect Swish to have picked something like Creed or Three Doors Down based on his brotasticness, so he gets bonus points for this choice.

[Update: It has been brought to my attention by Joe from River Ave. Blues that Gardner comes up to Run Like Hell and not On The Run as Feinsand said in his post.]

Brett Gardner: “Run Like Hell” - Pink Floyd

Easily my favorite choice out of all of these. Completely appropriate given Gardner's skill set and coming out to any Pink Floyd song is good by me, even if it is off of The Wall.

Randy Winn: “Just Chill” - Jon Young

Jon Young and J. Cash are apparently the highest selling hip hop act in Central Florida!

Marcus Thames: “You’re a Jerk” - New Boyz

Yeah, Marcus? Well you're a DH.

*Posada and Francisco Cervelli both supplied songs via CD (that are latin-flavored, if I recall correctly) and neither Bonner nor Feinsand were sure what they were called.

Starting Pitchers

CC Sabathia: “Big Poppa” - Notorious B.I.G.

Most obvious choice ever?

A.J. Burnett: “I’m a Man” - Black Strobe

Yes you are, sir. And so is Mike Gundy.

Javier Vazquez: “Until the Whole World Hears” - Casting Crowns

Christian rock. Whatever floats your boat, Javy, just pitch better after it plays.

Andy Pettitte: “La Grange” - ZZ Top

Like Teixeira's choice, this one is a staple of classic rock stations nation wide. Can't really go wrong but it's not exactly original.

Phil Hughes: “King Nothing” - Metallica

Because of Metallica's dickish views on copyright law you have to sit through a 30 second commercial to watch this one. Feel like doing that? I didn't think so.

I've often thought about what my at bat or warm up music would be and the decision becomes infinitely more complicated by the fact that, as Morgan Ensberg pointed out a while back, hitters are limited to 8 seconds. That's nothing. So the question becomes not "What song is going to get you fired up?" but "What 8 second snippet from a song are you not going to get totally sick of by the end of the first homestand?". That really cuts down on the options.

To make it slightly less impossible and pointless, let's assume that you are a pitcher and you get to choose a song or portion of a song to warm up to, but it can't be longer than 5 minutes. Here's a short list of ones that I would have to try extremely hard to decide between and truncate to the appropriate length:

• The version of Soul Serenade the Allman Brothers played in honor of King Curtis back in 1971.

• Derek Trucks' solo during Desdemona at the Beacon in '03.
  
  
• The Fire Inside by Bob Seger because the simple melody in it, and the relentless bass line underneath never fail to stir me up.
  
  
• A Phish song. Punch You in the Eye? Julius?

• This Atmopshere tune because I'm a sucker for hip hop with piano and the outro is awesome.
  
  
• Feel It by Sam Cooke from the famous Live at the Harlem Square Club show.

• Or pretty much any section of this version of Why Does Love Got To Be So Sad that Derek and the Dominoes played at the Filmore East during a two night stand they did there in October of 1970:

Yours in the comments if you so choose.

Joyful Noise: The Derek Trucks Band At The Egg

Good morning Fackers. When Matt and I first decided to go to the Derek Trucks concert at The Egg last night, there was a chance that it wouldn't overlap with the Giants game. NBC still had the option to flex another more significant game into that spot, but as it turns out, the match up between the G-Men and the Eagles was one of the more important games of the week.

In a way, attending the concert was a win-win proposition. If the Giants had won last night, we would have been thrilled but if they lost, we would have spared ourselves the agony of watching it all unfold. In either case, because of the venue, the performers and the circumstances, we were fairly certain that the concert was going to be one to remember.

The venue is an intimate 900 seat theater in a building called The Egg which feels even smaller than that. Since The Egg is a center for the performing arts and a non-profit, they rely on donors to keep it running and sell season tickets. The upshot is that there were a considerable amount of empty seats (maybe 5%), probably already paid for by people more interested in the ballets or orchestras that take the stage there.

The opening act was Shannon McNally who played with guitarist Eric Deaton. Before performing one of her original songs, she described how she sat in on the one microphone recording session done as a tribute in lieu of a funeral for Jim Dickinson, whom Matt paid homage to when he passed away back in August. Her last song was Long Black Veil, famously covered by both Johnny Cash and The Band (among others) and McNally said that the latter version was what made her want to become a musician.

There was a short intermission before Derek Trucks and the rest of the band took the stage. As Matt mentioned yesterday, it was dTb's last show for the foreseeable future, but it didn't contain any long speeches or list of "thank yous". It did, however, contain two sets of music and an encore, something which the rest of their shows on this tour have not.

The crowd was remained seated for most of the show, with the notable exception of a guy in front of us with a "Got Melky" t-shirt who couldn't contain himself during a few of the tunes. The acoustics were crystal clear, in equal parts due to the design of the auditorium, the pure sound of the band and the largely polite crowd who cheered at times during changes within a song but mostly reserved their applause and chatter until their completion.

They opened with Soul Serenade, a song by King Curtis covered by Duane Allman and more recently, recorded by dTb for the title track of one of their albums. The first set also included personal favorites I Wish I Knew, Get What You Deserve, Volunteered Slavery, Already Free and a blistering version of the Bob Dylan tune Down In The Flood.

The second set consisted of some older tunes like 555 Lake, which was on their first (self-titled) album, along with dTb staples Leaving Trunk and Gonna Move. It also featured two Derek and the Dominoes tunes - the appropriately chosen Key To The Highway which came late in the set, and a long and winding version of Anyday which was chosen as the encore (although without the song's last verse).

Before the band started up with the 2nd set closer Joyful Noise, drummer Yonrico Scott stood up to the microphone behind his kit and said "So, after 16 years...", a reference to how long the band had been touring. However, he didn't finish. Or maybe that's all he had planned to say. And maybe that's because The Derek Trucks Band isn't finished.

Who knows what this hiatus will bring for Derek and what direction he will go in next. But it's hard to imagine the seemingly effortless chemistry between Trucks, Scott, vocalist Mike Mattison, keyboardist Kofi Burbridge, bassist Todd Smalley and percussionist Count M'butu not being rekindled at some point in the future.

Since I haven't found it anywhere else online, here is the setlist as Matt transcribed it last night.

Set 1
Soul Serenade
Preachin' Blues
I Wish I Knew
Get What You Deserve
Volunteered Slavery
Already Free
Yield Not To Temptation
Down in the Flood

Set 2
Leaving Trunk
555 Lake (instrumental)
Sweet Inspiration
Young Funk
Home In Your Heart
Gonna Move >
Key to the Highway
My Favorite Things
Joyful Noise

E: Anyday

Fack Youk Field Trip: The Egg

Time for another Field Trip Fackers, and with it being the baseball off-season this one will involve our other favorite pastime here: music. While the 21st Annual Warren Haynes Christmas Jam took place in Asheville, North Carolina this weekend, Jay and I will be heading to The Egg in Albany this evening to see Haynes' fellow Allman Brothers Band guitarist and blog favorite The Derek Trucks Band. We'll probably have a summary sometime tomorrow.

Unfortunately this show comes on a night that the Giants and Eagles meet in a crucial NFC East match up. As disappointing as it will be to miss the game, it figures to be worth it. dTb announced in November that they will be going on an indefinite hiatus in 2010, tonight's show is the band's final performance for the foreseeable future. They're a band I've seen countless time over the past decade, starting with a performance for about 20 people at Boston College's O'Connell House during my sophomore year at BC. It will be nice to catch their final performance for the next year or so.

As we've mentioned before, Derek Trucks is a relative of the oldest living former Yankee, Virgil Trucks. However, I previously fouled up the specifics of the relationship. Our last post about it was picked up by an Allman Brothers Band listserv, where Vaylor Trucks - Derek's cousin, Butch's son, and the little kid on the cover of the ABB's 1973 Brothers and Sisters album, set the record straight. Virgil is the first cousin of Butch's father, making Derek Virgil's third cousin twice removed.

Now that we have the family tree squared away we can head off to the show. Here's the Derek Trucks Band, along with Derek's wife Susan Tedeschi, covering some Derek and the Dominoes:

Game 55: Let It Rain

Now that the game has been officially postponed I think we can say "let it rain". Get it out of your system, Weather Gods, cause once this system passes it's shaping up to be a pretty nice weekened. 

Have a good night, folks. Wet your whistle but stay dry.

And up next, we got the Likwidest,
It's so drunk, it's ridiculous,
When Tash get on the mic,
I swing my shit like Jack Nicklaus

Or if you prefer...

Let it rain (let it rain), 

Let it rain (let it rain), 

Let your love rain down on me.

Game 24: Roll It Over

So, how about that game last night??!?

No, seriously. I'm asking. 

I was watching up until it was 4-2, and Pettitte was standing on the white plastic cleat cleaner thing on the back of the mound as Danny Cunningham dispersed some drying agent on the front.

Life intervened, and by the time I got back to the TV, I had missed the collapse, the redemption, the climax and the denouement. They were leading when I left off, so in the grand scheme of things, I didn't really miss anything... right?

Today, CC Sabathia is matched up against a minor league journeyman named Matt Palmer, who has four career starts under his belt. I recall a similar pairing earlier this season, which ended well, but wasn't nearly the mismatch it appeared to be on paper. 

Let's see if the Yanks can take some of that momentum from last night and roll it over. 

Roll it over, let's take it from behind,

Roll it over, let's take it from behind, 

It's only love, God knows it ain't no crime.  

Guitar Solo Sunday

Anyone up for a new recurring feature?

Here are the rules:

1. No other instruments (for now)
2. No singing
3. Under 5 minutes
4. Take a picture of the scene of the crime
5. Make a simple YouTube of it
   
6. Make your mother proud

I have left the initial offering to the Guitar Gods below.

It was actually tuned up to 450Hz, which is where Clapton plays almost all of his Derek and the Dominoes stuff, which is why it sounds a little more bright than usual. See if you can spot the 60's song melody line that drops a little ways in.

I captured it on the terrible sound recorder program that comes on my computer, which is why there is a crackling in the background. When I figure out how to use the reel to reel recorder that was sitting in our lobby on Friday night (pictured above) with a note that said "Needs a home (barely used)", that will change.

Since it's usually just my PRS and me, it feels kind of cool to throw this up in this space knowing at least a few of you might enjoy it. But it would be awesome if I never did this again, and instead had readers/friends chip them in. Anyone out there with a black Custom Shop Les Paul and a PA system in his basement where we have played over 1,000 games (conservatively) of beer pong who would like to expose me for the marginal guitarist that I am? After that, we could duel Clapton vs. Harrison style. Poolroom jam next time I'm upstate with the R2R? I can think of another Yankee blogger with a vintage telecaster who may or may not like to weigh in.

-----

There is a strange combination of anonymity and exhibitionism about blogging. There are only a handful of people of people in this world who have ever heard me play the guitar. I could probably name every single one. But at the same time, I feel compelled to post it on this blog where people I have never laid eyes on are probably going to think it sucks, just for the fuck of it.

I apologize for the bait and switch aspect of putting this up on what appears to be a sports blog, but I'm guessing some of you like music. After all, Donald Trump thinks it is the most popular thing in the world.

-----

Anyway, here it is. It kind of dies in the middle, but picks back up at the end. Somehow it turned out to be 4:20 long. Go figure...

I'll call this "Christmas Cactus" after the plant my grandma gave me sitting on top of my dresser.

Why Does Love Got To Be So Sad

When I was growing up, my parents had an extensive LP collection including The J. Geils Band, Santana, Eric Clapton, The Allman Brothers, The Who, Lynyrd Skynyrd and every Rolling Stones album ever made. One of the reasons my parents were so into music (and had such good taste) was that my Dad's best friend's sister had managed the three bands linked above and was able to get those two tickets to all sorts of different concerts.

One of the albums I grew up to was Eric Clapton Unplugged. Being that Unplugged was my first entrée into Clapton's music, my perception of him was badly skewed. I was still young, but knew little beyond Tears in Heaven, Alberta and the acoustic version of Layla. It wasn't until much later in life that I discovered Hello Old Friend, Lay Down Sally, Motherless Children and the versions of Layla and Nobody Knows You When You're Down and Out he recorded with Duane Allman during the Derek and the Dominoes (D&tD) sessions.

Before D&tD came to be in 1970, Clapton had already done work with numerous supergroups, including the Yardbirds, John Mayall's Bluesbreakers, Cream, Blind Faith and Delaney, Bonnie & Friends (who my esteemed former college golf teammate Kyle brought up in the comments section of the Duane Allman post). It was the internal turmoil swirling around Delaney & Bonnie that allowed for the formation of D&tD.

Clapton, keyboardist Bobby Whitlock, drummer Jim Gordon and bassist Carl Radle had all played with D&B, but Delaney's ego and his fighting with Bonnie made them unbearable to record with. Whitlock later said:

"Delaney was a little James Brownish, real hard to work with, him and Bonnie fighting all the time and carrying on. Everyone got disenchanted with the situation"

It was Whitlock and Clapton who first connected after the four future Dominoes had left D&B. Whitlock was out of work at the time with $120 to his name when Clapton flew him out for a visit to London. Once Whitlock settled in, they began discussing the formation of a band and decided on a few parameters, "Our band was open - we didn't want no chicks, and no horn players, we wanted a four-piece rock 'n roll band, and we did it."

It was during this summit that the two would write the bulk of D&tD's catalog. Before Clapton, Whitlock, Radle and Gordon formed the band, they acted as studio musicians on George Harrison's first solo album, All Things Must Pass.

There are conflicting reports as to how the band actually came to be know as "Derek and the Dominoes". They all start with Derek as some sort of bastardization of Eric but differ on whether Dominoes was intentional or originally supposed to be Dynamos or Dynamics.

Their public debut came on June 14th, 1970 at the Lyceum Theatre in London, which was guitarist Dave Mason's first and only show with the band. During their first tour across small clubs in England, Clapton opted to play anonymously, having been burnt by the chaos surrounding Cream and Blind Faith. This, and the fact that it was a double LP, were reasons that Layla and Other Assorted Love Songs incredibly never charted in the UK.

As "Derek" was a cover for Eric, so too was "Layla" for Pattie Boyd, George Harrison's wife at the time. The relationship between her and Clapton was originally initiated by Boyd to get Harrison's attention, but to Eric, it far exceeded that. Nearly every song on the album was at least an oblique reference to Boyd.

Clapton drew Layla from "The Story of Layla & Majnoun" by the 12th century poet Nizami, considered the Romeo and Juliet of Persian culture. Layla and Majnoun were never actually together in the book, they were childhood friends who fall in love, but are kept apart. Layla is forced into a loveless marriage while Majnoun takes the route of solitude and reflection. By this introspection, Majnoun is said to come away with divine knowledge.

Presence of the Lord is not a song you would initially assume to be about a woman, but in light of that poem, look at the lyrics:

I have finally found a way to live,
Just like I never could before.
And I know I don't have much to give,
but I can open any door.

Everybody knows the secret,
I said everybody knows the score.
I have finally found a way to live,
In the presence of the lord.

Everybody indeed knew the secret, eventually. Clapton arranged a clandestine meeting between he and Boyd at a flat in South Kensington to play a song he wanted her to hear. Boyd later recalled:

He switched on the tape machine, turned up the volume and played me the most powerful, moving song I had ever heard. It was Layla, about a man who falls hopelessly in love with a woman who loves him but is unavailable.

He played it to me two or three times, all the while watching my face intently for my reaction . My first thought was: 'Oh God, every one's going to know this is about me'.

According to Bohe same night that Clapton first played Layla for Patty, the following took place in the garden of Harrison's manager Robert Stingwood's house:

"George kept asking, 'Where's Pattie?' But no one seemed to know. He was about to leave when he spotted me in the garden with Eric," Boyd said. "George came over and demanded, 'What’s going on?’ To my horror, Eric said, ‘I have to tell you, man, that I’m in love with your wife.’ I wanted to die. George was furious. He turned to me and said: ‘Well, are you going with him or coming with me?’ I went home with George".

This sounds like ex post facto exaggeration, but if that actually happened, it might be one of the greatest events in the history of humankind:

Clapton once showed up drunk at Harrison’s home and engaged the Beatles’ guitarist in a rock duel. “George handed him a guitar and an amp — as an 18th-century gentleman might have handed his rival a sword — and for two hours, without a word, they dueled,” Boyd said. “At the end, nothing was said but the general feeling was that Eric had won. He hadn’t allowed himself to get riled or go in for instrumental gymnastics as George had. Even when he was drunk, his guitar-playing was unbeatable.

Instead of fighting, two of the most prominent musical icons at the time decided to go riff for riff on the guitar over a love triangle? Every rapper worth his weight in 40oz's has battle-rapped against another MC, but I've never once heard of it between guitarists, especially in that stratosphere.

In the late summer of 1970, when D&tD were compiling Layla at Criteria Studios in Miami, they were working with a producer from Atlantic Records named Tom Dowd. Due to the fact that the Dominoes had very little experience playing the material as a four person band, the first few days of recording were tedious and uninspired. It was not what Dowd expected:

I had alerted the staff at Criteria that this was going to be brutal. Bring earmuffs, because these guys would be showing up with double stacks of Marshalls and God knows what. And when they showed up, all they had was a tweed champ and a Princeton, and Radle has a piggyback Ampeg B15... As I think back on it, I made the comment that if anybody walked into that studio with squeaky shoes, we'd blow a take. That's how quiet they were.

At the time, Dowd had just finished recording Idlewild South with the Allman Brothers in the same studios. Eric and Duane already had mutual respect for each other. Dowd later recanted:

Well, Duane came into the control room and I said,"Duane, I'm sorry, but that was Eric Clapton's manager and I had to take the call." Duane says, "You mean the guy in Cream?" He starts playing me Cream licks. "Man, are you going to record him? Oh, man, yeah, man. I gotta meet him."

After the first few lackluster sessions for Layla, Down received a call from Duane, saying they were playing a show at the Miami Beach Convention Center that night. Clapton recognized Duane's work on Wilson Pickett's Hey Jude and immediately wanted to go see the concert. As the legend goes, Duane didn't know he was going to be there and literally stopped playing during a solo. Still Dowd:

So I took the band down to this outdoor concert, and the crew for the Allman Brothers snuck us in on our hands and knees to the front of the stage right in front of the barricade, and we're sitting on the ground watching Duane playing a solo. All of a sudden he looks down and sees Clapton and his eyes bug out and he just stops playing. Dickie looks, and he figures Duane has broken a string or his amp's blown up, so he starts playing a solo, and all hell breaks loose. I'm really giggling, and they finally regained their composure and finished the show.

After the show, Clapton and Allman went back to the studio and jammed until two o'clock the next afternoon. The two bands swapped keyboardists and drummers, and the results can be found on the 20th Anniversary Edition of Layla on the second and third discs. The second one is especially awesome, containing only Jams I, II, III, IV & V with none of those clocking in at under 12 minutes.

An interesting fact: Duane's famous solo on the song Layla wasn't even recorded at the same time as the piano track (composed by Rita Coolidge and Jim Horn), it was applied two weeks after they finished recording.

It took them only ten days to record the whole album, but while they were in-studio Jimi Hendrix died in London from choking on his own vomit after he took nine of his girlfriend's Vesperax. Clapton had become friends with Jimi after first catching him on the London club circuit before he was a superstar. Clapton was initally quite jealous of Hendrix and the emotional, even sexual, stage presence he projected, but the two eventually forged a solid bond. Shortly before Hendrix died, Clapton had bought a white, left-handed Fender Stratocaster at guitar shop in the West End of London, but never got the chance to give it to him. The cover of Hendrix's Little Wing on Layla serves as Clapton's tribute to him.

Dowd's had his doubts about the album's commercial success at first, but still knew it was somethign special.

It literally died for a year after it was released. I thought it was the best work I had done in ten years-since Ray Charles - and I thought how embarrassing it would have been to have failed with such artistry and musicianship on that record. Thank God for Atlantic's marketing people, because they never gave up on it and eventually it became the national anthem of rock records.

Before the album was released in December of 1970 to little fanfare, Derek and the Dominoes embarked on their American tour. The two most widely distributed recordings are of the concerts the the Filmore East on October 23rd and 24th. Polydor Records first released a In Concert in 1973, but it wasn't until 1994 that they released the more complete version Live at the Filmore. (If you have the means to download them, the first one is much better.

I couldn't add it to this post, but I made a slideshow over the version of Why Does Love Got To Be So Sad from the first night. You can watch it here. It's 14:50 long, but the pictures help pass the time. In addition, it is one of the most emotional renditions of a song I've ever heard, right up there with the version of Soul Serenade Duane Allman played in honor of King Curtis at the same venue.

The verse for WDLGTBSS is in A-minor and the chorus is in D. Consequently, there is a key change everytime he switches back and forth, and there are solos in both keys. Without any musical knowledge, you will immediately notice that it flips from being angry during the verse (A-minor) to sweet and mournful in the chorus (D). Here is one of the verses:

Like a moth to a flame,
Like a song without a name,
I've never been the same since I met you.

Like a bird on the wing,
I've got a brand new song to sing,
I can't keep from singing about you.

D&tD wouldn't have been a 70's band if there weren't some drugs to go along with all that sex and rock and roll. Bobby Whitlock later described their usage habits when the band was together by saying:

We were a make-believe band. We were all hiding inside it. Derek and the Dominos — the whole thing ... assumed. So it couldn't last. I had to come out and admit that I was being me. I mean, being Derek was a cover for the fact that I was trying to steal someone else's wife. That was one of the reasons for doing it, so that I could write the song, and even use another name for Pattie. So Derek and Layla — it wasn't real at all.

Some of the greatest things this world has to offer just aren't meant to last. The level of drug use and emotional fluctuation that made the album and the performances as great as they were, was not sustainable. If Clapton was just smoking pot and signing about his girlfriend, we wouldn't still be talking about it.

Why Does Love Got To Be So Sad Video [Music] [Non-Sports]

At the very end of the video, listen for the asshole who yells "The bass is flat!"