Blue Devils question

[sarnia sam]

It is a pun. In part it stands for "Toronto Ontario" since that is where Rob McConnel (who wrote the song) is from. The other half of the pun escapes me at the moment. Any takers on the other half? Rob? I know you ARE a Drum Corps fan. In the very slim less than 1 %chance that you just might run accross this thread give us the scoop. (yeah right).

P.S. GREAT CHART!!!!! I played it in the Disneyland Magic Kingdom Korps as well as the origninal chart at a few big band gigs here and there.

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As has been stated below the T.O. stands for Ted O'Reilly. It never had anything to do with Toronto, even though the short hand for Toronto around here is T.O. Rob actually lives in the Peterborough area, not Toronto.

Regards

John

Edited June 8, 2005 by sarnia sam

[Todd Tanji]

With respect to the comment regarding mellophones on La Suerte tag.  Those were french horns that cut threw the horn line.  The flugle horns also wailed on that, but those french horns just sliced threw the hornline like nothing. 

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For the record ...

the La Suerte tag was MY IDEA! I suggested it to Steve Davis (Gator Geek),

he tried it, told Wayne about it and it was in. (I haven't receive any royalties

yet :P ).

And Rob, do you remember the LYRICS to the T.O. ending???

[84BDsop]

For the record ...

the La Suerte tag was MY IDEA! I suggested it to Steve Davis (Gator Geek),

he tried it, told Wayne about it and it was in. (I haven't receive any royalties

yet   :P ).

And Rob, do you remember the LYRICS to the T.O. ending??? 

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I do....but don't know if I should post them here....heh

'Course, I know the one fromthe end of 83 Freelancers' opener, too..."Hey there... I ###### your mom....TWICE!"

Edited June 8, 2005 by 84BDsop

[torn8o]

As has been stated below the T.O. stands for Ted O'Reilly. It never had anything to do with Toronto, even though the short hand for Toronto around here is T.O. Rob actually lives in the Peterborough area, not Toronto.

Regards

John

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I have the 1982 full DCI finals with Steve Rondinaro and...Rob McConnel as hosts and on the tape Steve asked him about the chart since he wrote it and BD played it and he said ON THE TAPE that it was a pun for...yes Ted O Reilly and Toronto. I got the video to prove it. Just watched it today in fact because this discussion gave me the itch.

Edited June 8, 2005 by torn8o

[sarnia sam]

I have the 1982 full DCI finals with Steve Rondinaro and...Rob McConnel as hosts and on the tape Steve asked him about the chart since he wrote it and BD played it and he said ON THE TAPE that it was a pun for...yes Ted O Reilly and Toronto. I got the video to prove it. Just watched it today in fact because this discussion gave me the itch.

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There you go. What people say at one time and what they say at another may not always be exactly the same thing. I was going by another conversation from almost two decades later.

Regards,

John

[ambassadorhorn]

Loved the sound of the french horns.  Definitely something that is missing from todays brass sound.

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Man. I loved that lick. I feel so lucky as to have been able to play it in '84 and '85. I agree that the loss of French horns to most DCI horn lines has changed things. Bring 'em back or rather bring back the French horn players who are willing to play them and march today's drill.

As for the ending(s) of our show in '85, there were quite a few changes. Show changes during tour always freaked me out a bit but it was a relief when we finally settled on the "Liferaft Earth/La Suerta"ish tag.

[longfade]

85 was the year of a thousand endings for us.

We started off ending First Circle the way Pat Metheny did on the album.....which amounted to this:

loud stuff, horn lines chops aching from the endurance festival the show turned into.....then more loud stuff with about half the horn line in severe pain....the other half in the middle of lip spasms.....then more loud chords....

.....then bop......

Followed by:

[ chirp.....chirp....watch the people in the stands stare at each other......bumpbumpbumbump of the bass drum....then the applause ]

Wayne was trying to get away from the "re-entry" with the basic formula that went back to 76.  It kept creeping back in somehow. 

With respect to the comment regarding mellophones on La Suerte tag.  Those were french horns that cut threw the horn line.  The flugle horns also wailed on that, but those french horns just sliced threw the hornline like nothing. 

Loved the sound of the french horns.  Definitely something that is missing from todays brass sound.

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HA! Oh man, I remember hearing that original ending at our first show on tour and going ".....what?...okay. Hmm". I have a bunch of tapes because back then nobody cared if you walked in with a huge boom box and a microphone. I recorded all kinds of stuff, but I never caught the NYF tag unfortunately.

I have always wondered, when you did the NYF tag on that tour, since you only did it a couple of times, how did you rehearse it? I always thought it was really hip the way the Devils would do stuff like that. Anyway, was it a big deal, or did the staff just say "we're doing this tonight?" Or did the corps ask for it?

Just something I've always wondered.

[ambassadorhorn]

or did the staff just say "we're doing this tonight?"

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I still have nightmares like that. :sshh:

As I remember we had adequate time to prepare the changes we made, even when on tour. B.D. was a great corps to march in because things were so well paced and planned out for the marching members benefit. At least that's how it seemed to me. I guess you could argue that getting the ending just right in the middle of the competition season isn't good planning but some things have to be tried out first.

[bd5times]

I have always wondered, when you did the NYF tag on that tour, since you only did it a couple of times, how did you rehearse it?

Depended on which change we were doing. Sometimes Wayne would have it written out. Other times he would pull the section leaders aside, say what he wanted played and we'd go back to the section and teach it (gotta love a corps that relies on the section leaders so much).

I always thought it was really hip the way the Devils would do stuff like that. Anyway, was it a big deal, or did the staff just say "we're doing this tonight?" Or did the corps ask for it?

We had time to practice it. I don't think we ever did a change on show day. Changes usually happened on days where we had an entire day to practiceand get the changes worked out with the drummers. Most times, musical changes were accompanied with visual changes as well. So, these things went hand in hand.

I don't recall the changes being that big of a deal in 85. I do recall that each time a change was mentioned, the hornline would start making comments about yet another change. Wayne took the ribbing in stride though.

In 84, the change for the end of the show was huge! The hornline was pumped to get the ending put in. I remember Wayne pulling me aside at College Park High School where we learned the change. You could tell he was excited about it. He starts singing the re-entry, arms flailing, he's belting out the soprano parts, couple of the alto licks, a couple of bari parts mixed with theh contras then the BA-DA-BOP.

After he sings the re-entry once, he says...."got it? Go teach it to the line".

It was essentially the same thing as 83, so teaching it was no big deal (couple of things were different I think).

[longfade]

Too cool. How late in the (84) season was it added? People must have flipped when you first brought in out that year!

Depended on which change we were doing.  Sometimes Wayne would have it written out.  Other times he would pull the section leaders aside, say what he wanted played and we'd go back to the section and teach it (gotta love a corps that relies on the section leaders so much).

We had time to practice it.  I don't think we ever did a change on  show day.  Changes usually happened on days where we had an entire day to practiceand get the changes worked out with the drummers.  Most times, musical changes were accompanied with visual changes as well.  So, these things went hand in hand.

I don't recall the changes being that big of a deal in 85.  I do recall that each time a change was mentioned, the hornline would start making comments about yet another change.  Wayne took the ribbing in stride though. 

In 84, the change for the end of the show was huge!  The hornline was pumped to get the ending put in.  I remember Wayne pulling me aside at College Park High School where we learned the change.  You could tell he was excited about it.  He starts singing the re-entry, arms flailing, he's belting out the soprano parts, couple of the alto licks, a couple of bari parts mixed with theh contras then the BA-DA-BOP.

After he sings the re-entry once, he says...."got it?  Go teach it to the line".

It was essentially the same thing as 83, so teaching it was no big deal (couple of things were different I think).

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