The Twilight Sad Discography

[Darth Gupta]

DeadRhetoric: At the Heart of Wintervale is the fourth studio album for Twilight Force. What did you want to achieve with the record in terms of performances and songwriting that expands or differs from the already established discography for the group?

Dead Rhetoric: Where do you see your major role as keyboardist and orchestrator within the Twilight Force framework? Has it been even more of a challenge album to album to get all the elements you want within the songs without overwhelming the sonic landscape or the listener?

Dead Rhetoric: You have an upcoming headlining European tour with Silver Bullet and Seven Spires as openers. What are your expectations for these shows, do you believe the fans are very excited about taking in these shows given the long break due the pandemic for regular touring activities?

Dead Rhetoric: Where do you see the importance of assembling the right management, booking agency, record label, and outside supporters in developing the career of Twilight Force? Are there certain aspects you feel more comfortable taking care of within the membership of the band?

Dead Rhetoric: Where do you see the state of heavy metal on a global scale? And what do you see as some of the biggest challenges in keeping the scene healthy and strong over the next three to five years?

Dead Rhetoric: How do you see the next year or so shaping up for Twilight Force to support this record? What are some of the goals that you would like to achieve over the coming years?

The sixties saw the biggest cultural upheaval in the Western World since,well, the twenties. Once again, an old line of performers was washed aside byan unrelenting flood of fresh artists and their young fans. But thistime, Louis Armstrong was the old line.

The decade that started off with a fine pairing with Duke Ellington, andkept rolling with a lively and inventive concept-album tribute by Dave Brubeck.But before long, Louis' recorded career sank into a morass of mediocre MOR,swept aside by the infectious energy of rock and roll. Late-decade attempts ata revival with a Disney collection and an ill-advised modern pop album didnothing to boost this falling-out; yet, true to form, his own enthusiasm neversagged.

Ironically, as his recorded output reached its nadir, Satch's popularitysoared to its all-time peak. Spurred by the unexpected worldwide success of"Hello Dolly" (a song he had forgotten even recording!), he wassuddenly in demand for every television venue available. A new generation ofmusic buyers was handed a hearty introduction to the King of Jazz, though formany it was a long time before they could hope to grasp his importance. Hislast big hit, "What a Wonderful World", didn't really leave its markuntil its inclusion in the film Good Morning, Vietnam,16 years after he had passed away. But the song perfectly encapsulatesthe heart and soul of Louis Armstrong: anytime he appeared on film, played onstage, or performed on record, it was, indeed, a wonderful, wonderfulworld.

The publisher got Glaser to get Armstrong to record this tune from a Broadway production thathad yet to open simply as a way to promote the show. Louis and the boysclearly didn't think much of this toss-off tune and the record companyoverdubbed the nostalgic "Dixieland" banjo to give it a little extrapasteurized cheese pep. But when Glaser heard the demo, he smelled a hitand pushed hard to get it released. Within weeks, it would be the biggestselling disc in America (at the height of Beatlemania) and fuel Armstrong'spopularity throughout his final decade.

Armstrongs first of six appearances on thepopular, long-running Saturday night variety show of the mid-to-late 1960's,originating from the Hollywood Palace Theater (formerly the El Capitan) onHollywood Boulevard. There was a revolving guest host, usually a singer orcomedian, each week. Bing Crosby was the most frequent guest host (including,of course, the Christmas Week show), but other frequent guest hosts includedSammy Davis, Jr., Jimmy Durante, Don Adams, Fred Astaire, and Judy Garland.The Rolling Stones made their first U.S. TV appearence on the show in 1964.The waning popularity of weekly variety shows contributed to "HollywoodPalace" being cancelled in early 1970, but it's still well-remembered by itsmany fans. (Bob Sorrentino, IMDB)

Released on a Double LP The Essential Louis Armstrong: Recorded Live At The Palais Des Sports, Paris, 1965.Digitally remastered by Alexis Frenkel and Christophe Henault (Art Et Son Studio, Paris, France)in 2001 for a CD release on Verve.

Two shows taped simultaneously and aired on October 21, 1965 and December 9, 1965. IMDB lists a Dean Martin Show appearancethat aired on November 3, 1966 but is not listed in Willems discography.Armstrong joins host Martin, Les Brown and His Band of Renown, stringsand a chorus on the two medleys.

There are some discrepancies in information about "What a Wonderful World."Willems (pp 380) places the recording in New York City, whileJack Doyleplaces the recording in Las Vegas during Armstrong's stint at the Hotel Tropicana.Willems and the HMV 45-RPM single (POP 1615) list "G. Douglas" as awriter instead of producer "Bob Thiele," who both Doyle and the ASCAP databaseinstead credit as one of the two writers. Willems lists Tommy Goodman as the arranger,while Doyle credits Artie Butler. "What a Wonderful World" was atop selling single in Britain in 1968, but the song was not promoted as a singlein the US, reputedly because of the recalcitrance of ABC executive Larry Newton, whowas vehemently opposed to Armstrong recording the song in the first place.Armstrong would have the posthumous last laugh when the song would reach prominence after inclusion in the filmGood Morning, Vietnamtwo decades later in 1987. That usage of the song is actually an anachronismsince it is played in a scene set in 1965 (two years before the recording), butdirector Barry Levinson felt the song's aptness to the scene was worth thehistorical inaccuracy.

This is Armstrong's second recording of "Cabaret." The firstrecording for Columbia in 1966 features strings behind a subdued All Stars, whilethis second recording for ABC features is a much more lively andimprovisational All-Stars-only performance clearly reflecting a year of thegroup living with the song on the road.

Armstrong suffered from serious heart and kidney problemsfrom September, 1968 through April, 1969 and spent considerabletime in the hospital. When he returned to performingin late 1969, he was ordered by his doctor to stopplaying trumpet due to the strain on his lungs. Armstrongresumed playing trumpet sporadically in September, 1970.

Special small-scale pressing for employees of the Mrs. Paul's KitchensCompany of a number of performances by different jazz artistson the Today Show: "Today Show - From Ragtime to Rock: A History of American Music."

A celebration of Armstrong's 70th birthday entitled Hello, Louis. The evening included performances by a number of groups and was hosted by Hoagy Carmichael. The entire evening is available in a 3-CD box set.

Soundtrack to a filmed performance of an all-star gatheringof trumpet players at the 1970 Newport Jazz Festival. The set includes a number of other songs with features for the individual players. Armstrong appeared, unannounced, atthe end of the set, under a single spotlight, to a thunderousovation. Armstrong's cuts are accompanied by the Bobby Hackett Quintet except for the Sleepy Time Down South finale.

The first of four sessions for Armstrong's Country and Westernalbum - an odd ending to Armstrong's pioneering studio career.Session dates from the Jack Bradley Collection at the LouisArmstrong House Museum, courtesy of Ricky Riccardi.More information and photos from the recording sessionsHERE....

Armstrong resumes playing trumpet sporadically forthe first time since his September 1968 hospitalization.Blue Yodel was a number Armstrong had recorded withthe "father" of country music, Jimmy Rodgers,forty years before. Broadcast on October 28, 1970.

A simple reading of the famed children's Christmas story recorded at hishome four months before his passing. For those with racial hangups, it's an embarrassing anachronism from a painful era in American history.For those that love Louis and are willing to accept the the world he lived in for what it was, this is charming end to a remarkable life.

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