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Autobiography of a Jeep -- Tehachapi Loop (Jeepin') Commissioned for the war effort, by 1943 the "General Purpose" (Jeep) had become so much (More) Commissioned for the war effort, by 1943 the "General Purpose" (Jeep) had become so much of a military mainstay, it's hard to believe it wasn't around before that.
It hasn't changed a whole lot visually, it's as distinctively ugly-utility as ever.
The movie is an old rah-rah piece, and is really well done. Its done with the assumption that if the Jeep had a voice and personality, it'd be that of one of the homey dog faces that made up much of our armed forces.
And who can argue that? The military Jeep proved so popular, it went into the civilian trade, and of course, into legend as the "Forty Nine Dollar Jeep".
Did anyone ever get one of those? Surplussed Jeeps for a mere fifty bucks, plus shipping and handling? I always figured if they did exist, they'd arrive as a box of greasy parts of mostly Jeep and possibly refrigerator components.
The music was composed for the clip, and didn't actually have a name until I decided it sounded like driving down along the Tehachapi Loop in California, off road.
Using the Yamaha drum machine (I think he actually programmed it this time), the Roland GR-20 guitar synthesizer, and the Jazz bass, Tedd composed a swinging cool jazz piece that just keeps on going forward.
The piano is unruly, the saxophone runs merrily outside of what the actual instrument can do, the bass charges along solid as, well, a Fender Jazz bass. It's as fun as a fairly smooth dirt road in the desert and finding out where it goes.
The entire movie is available at the Internet Archive, and you really need to see it if you're a fan of Jeeps. It's funny and fascinating, and about ten minutes uncut.
Tread Lightly!
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Welcome To Route 66. (Less)
Dreamlover "Dreamlover" was the first release from Mariah's forthcoming album "Music (More) "Dreamlover" was the first release from Mariah's forthcoming album "Music box". In the middle of August 1993, the single glided onto the charts at number 13, rising over the next couple of weeks to number 9, then to number 3, before hitting the magical number 1 on the Billboard Hot 100 on September 4, 1993, Mariah's seventh number 1 recording. The only real surprise, and a very joyous one, was that "Dreamlover" hogged the top spot for a total of eight weeks, an absolute indication that, far from being on the wane, Mariah's popularity was still increasing.
Mariah had worked on the song with Dave Hall, a record producer who'd recently finished Mary J. Blige's album. "I loved what Dave was doing at the time," Mariah told Fred Bronson. "I wanted to do something that had a happy feeling, and that's really not Dave. It's very anti what he's about. So he said, 'Oh, you want to do that happy stuff? All right, all right.' He wasn't into doing it. Then we listened to a lot of loops, and we used the Blind Alley loop and I started singing the melody over it."
The "Blind alley" loop came from an old record, and was so low in the mix it was barely audible. "It was used on a rap record called Ain't No Half-steppin' by Big Daddy Kane and probably a lot of other things," Mariah explained. "But it never had this kind of song over it. We built the song from there and I wrote the lyrics and the melody and Dave ended up liking it."
In fact, Hall ended up enjoying his entire time with Mariah. "My experience with Mariah was a good one," he agreed. "Some artists don't arrive on time and you sit in the studio waiting. But Mariah was always on time, very on point. She's a perfectionist. She knew exactly what she wanted to do when we got in the studio. We would lay down some ideas in the morning, and she would go home with it that evening, until the next evening. We would get the hook down that night. She's pretty quick on that."
Mariah played Tommy the version of "Dreamlover" that she and Hall had concocted. While he liked it, he felt it needed more to be properly commercial, and he approached Walter about lending his talents to the track. "Mariah and Dave did this loop thing, and it was new to us pop producers at that time," Walter said. "Their version of Dreamlover was missing a lot of stuff. The spirit of the song was up but it wasn't hitting hard enough." Walter's solution was to re-arrange the drums and keyboards, to give it more swing, and more drive. "It put a whole different shade of colors to it."
The video, directed by Diane Martel, picked up on the song's summery sheen with its images of Mariah swimming in a pool by a waterfall with her dog Jack, lying in a field of wildflowers, and singing in front of a group of hip-hop dancers. (Mariah commented later that the water was so cold that she refused to swim until Diane dived in first.) The casual feel, almost like clips from home movies edited together, captured the song's off-the-shoulder airiness, and its frequent showing on various video-music channels did nothing to hurt the song's success. (Less)
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