Results
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You're My World - Umberto Bindi, Gino Paoli, Carl Sigman - Len Jenkins
"You're My World" is a ballad originally recorded in 1963 as "Il Mio Mondo" ("My World") by Umberto Bindi, who co-wrote the Italian-language version with Gino Paoli. Although the original Italian version was not a hit, even in Italy, the song came to the attention of UK record producer George Martin, who commissioned an English version to be recorded by his protegee Cilla Black. The English lyrics were written by Carl Sigman. Cilla's recording at Abbey Road Studios was made with Johnny Pearson conducting his orchestra and The Breakaways providing background vocals. Her road manager and future husband Bobby Willis also sang on the track. "You're My World" reached No. 1 in Britain on the chart dated 30 May 1964 and remained there for a total of four weeks, one week more than Cilla's preceding single "Anyone Who Had A Heart" (Also available as a Brass arrangement from Wobbleco Music). Although Cilla returned to the UK Top Ten eight times, "You're My World" was her final No. 1 hit. Two quite different arrangements are available; one for Full Brass Band and one for Brass Quintet with optional Glockenspiel. Both attempt to retain the style of the original recording.
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Das Boot - Klaus Doldinger - Len Jenkins
Traditionally, submarines are referred to as 'boats' rather than 'ships' and the German U- boat (Unterseeboot) was originally a craft primarily designed for surface attack that also had an underwater capability, an aspect that was subsequently developed into the submarine craft that we now know. Das Boot was a 1980's TV series/film that followed the patrol of U-96 and is reckoned by many to be the best (anti) war film produced. Authenticity was achieved by filming in a full size replica with actors who were denied washing or shaving to get the right 'atmosphere' of life in a U-boat. Despite the havoc and distress caused by attacks on Allied shipping by U-boats one cannot but be saddened by the fact that out of 40,000 who went to sea in them, 30,000 never returned. The music is characterised by a theme that has a haunting, deep, sonorous quality penetrated by the sharp, regular 'ping' of ASDIC (sonar) that was used by surface vessels to echo-locate submarines prior to attacking them with depth-charges. This 'ping' may be approximated to, at modest cost, by the percussion section using either a cymbal dome (select an appropriate beater) or a high-pitched wooden 'agogo'. Alternatively, more complex and expensive electronics may be employed. The piece needs to be played with confidence because of its discordant and intentionally sombre nature.
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The Giddy Goat - Traditional Swiss - Daniel von Siebenthal
The Giddy Goat is a silly folk song that everyone knows in Switzerland. It is about a white goat that does not want to get milked, so she kicks the milker. Thinking that this is because the goat is white, the owner decides that he will buy a brown one instead. From there on, people make up their own verses in which the goat is often replaced with past loves, enemies, and anyone or anything worthy of ridicule. Daniel, the arranger, lives in Gstaad in the Saanen district and the "Saanen goat" is a breed of white goat known throughout the world. As a farm boy, he did his share of goat milking and received the occasional hoof under his chin for his trouble. So, this piece is a tribute to a local breed that became world-famous, especially in America where the tune also meets its counterpart Billy Grogan's Goat (a similar silly song). The Giddy Goat should always be played as a "silly song" reflecting the goat's nature; capricious and cantankerous. The low bass line is important in Swiss folk music and should approximate to a plucked string-bass whose strings are dampened, to give it a pulsating feel. For those who would like to yodel we include the following Swiss tongue twister:- Holeduli duliduli, holeduli duli duli duuli, Holeduli duliduli, holeduli duli duli duu
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A Holly Jolly Christmas - Johnny Marks - Len Jenkins
"A Holly Jolly Christmas" is a Christmas song written in 1962 by Johnny Marks. He was also responsible for Rudolph, the Red-Nosed Reindeer and Rocking Around the Christmas Tree amongst his other compositions. The most well-known vocal editions are those by Burl Ives who recorded it in 1964 for a Christmas special, and then re-recorded in 1965 for his holiday album, Have a Holly Jolly Christmas. This latter version of the song has a somewhat slower arrangement than the previous version and featured an acoustic guitar solo introduction; it is this version that has since become the more commonly heard rendition on radio. More recently, it has been recorded by Michael Buble.
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Bad Moon Rising - John Fogerty - Len Jenkins
"Bad Moon Rising" is a song written by John Fogerty and performed by Creedence Clearwater Revival. It was the lead single from their album Green River and was released in April 1969, four months before the album. It reached No. 1 on the UK Singles Chart for three weeks in September 1969 and has been recorded by at least 20 different artists, in styles ranging from folk to reggae to psychedelic rock. The last line of the chorus, "there's a bad moon on the rise", is sometimes misheard as "there's a bathroom on the right" and Fogerty occasionally sings the misheard lyric in concert. The song has become notably popular in Argentina as a football chant and in the 2014 FIFA World Cup, a modified version, titled "Brasil, decime que se siente" ("Brazil, Tell Me How It Feels") was sung with Spanish lyrics that taunted Brazil, their traditional rival. It went viral and became very popular (in Argentina).
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Runaway - Max Crook & Del Shannon - Len Jenkins
"Runaway" was made famous by Del Shannon in 1961 when it was released in the February of that year and quickly became an international hit. At its height it was said to be selling at the rate of 80,000 singles per day and in the June made number one in the UK. It was written with Max Crook who had invented his own clavioline-based electric keyboard called a Musitron which features in the original recording. The song was originally recorded in A minor, but the producer sped up the finished recording to just below B-flat minor. The iconic synthesiser sound in this arrangement is reproduced as a solo on Soprano cornet, and should be within the capabilities of most players provided attention is paid to the breathing regime.
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A Lazy Afternoon - Len Jenkins - Len Jenkins
'A Lazy Afternoon' brings to mind a lazy hot day in summer, possibly starting with a short drive out to somewhere pleasant for an afternoon's picnic. It is accepted that a drive out is now something many would choose to avoid, especially at busy weekends, but one can perhaps dream of open un-cluttered roads with no rush to get there. As such, this piece is ideal for the local summer fete. It has a gentle style that so befits an English village fete, recalling an era when things did not need to be so immediate and may thereby help to give a perfect respite from the everyday 'rush and tear'. As with many of Wobbleco's pieces, this is aimed at the average town and village band, and is within the reasonable playing capabilities of its members.
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Peterborough Mass - Jeremy Cladd - Len Jenkins
Peterborough Mass comprises 5 Movements, Kyrie, Gloria, Sanctus, Benedictus and Agnus Dei. It was composed by Jeremy Cladd who became Head Chorister during his teenage yearsat Peterborough Cathedral. Total immersion in the music within such an inspiring building caused Jeremy to look deeper into the liturgical aspects of the Mass in order to understand the origins of the literary text being sung, so that he could paint a musical landscape based upon his interpretation of the text. From a musical perspective, Jeremy's Kyrie takes its inspiration from Philippians 2 vv1-11 (NIV) "Imitating Christ's Humility", and is structured AB where A refers to humility and submission "lord have mercy" and B relates to "united with Christ", with the latter evoking feelings of salvation and joy. In sympathy with the literary text, the Kyrie has a short introduction, and then a ternary form ABA structure where A is influenced by polyphonic choral writing and B by homophonic choral writing. This is the first of the five Movements to be arranged for Brass Band with Choir and comprises a full brass band score, parts for all instruments and a choral practice score.
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Paint It Black - Mick Jagger & Keith Richards - Len Jenkins
"Paint It Black" (originally released as "Paint It, Black") was written by Mick Jagger and Keith Richards, and first released as a single on 6 May 1966. It became the Rolling Stones' sixth number one in the UK and has remained influential as the first number one hit featuring a sitar. The song came at a pivotal period in The Rolling Stones' recording history, a time that saw the song-writing collaboration of Jagger and Richards assert itself as the principal composers of the band's original material. Its lyrics are for the most part meant to describe bleakness and depression and describe the extreme grief suffered by one stunned by the sudden and unexpected loss of wife, lover or partner. It famously plays during the end credits of the film Full Metal Jacket. Beginning in the style of an ironic minuet, which can be by-passed by starting at bar 54 where the heavy rock beat takes over, the piece is interesting and within the capabilities of 3rd or 4th section bands. For those bands with a drummer and one percussionist, an alternative percussion part is provided.
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Duet For Two Cats - G. Rossini - Len Jenkins
"Duet For Two Cats" is often performed as an encore to vocal recitals and operatic galas. It may be sung by two sopranos, male-female pairs, or even as a tomcat duet and can be accompanied by a piano or a full orchestra. The lyrics are simple; the single word 'Miaow', repeated with various styles of inflexion and attitude throughout the piece. Our arrangement is for a cornet and trombone. The piece is generally ascribed to Rossini, though there is some doubt as to its actual origins and whether it is an authentic work by that composer. It is believed that an English composer, Robert Lucas Pearsall under the pseudonym G. Berthold may have assembled the various elements from Rossini and perhaps other composers into the piece as we now know it. In order to achieve the correct balance between band and soloists, there is a need to mute most of the band instruments. Recognising that not all bands will have the larger mutes which are expensive and sometimes unwieldy, we suggest a form of muting made famous by a jazz trumpeter and which works well on most instruments. It consists of a circle of heat resistant padded table covering or felt, slightly larger than the bell diameter, with an elasticated edge like a 'mop-hat'. With 3 holes in it to let the sound out, the mute is then simply stretched over the bell to achieve the desired effect and folded up when not required.