| FESTIVAL HALL | MOI 1969 | 200 MOTELS | BOGUS POMP '75 | BOGUS POMP '83 |
| Semi-Fraudulent/Direct-From-Hollywood Overture | ||||
|---|---|---|---|---|
| Holiday in Berlin (BWS) (0:00-0:18) | 0:00-1:59 | 00:00 | ||
| Touring Can Make You Crazy | ||||
| 0:00-2:52 | 01:35 | |||
| Centerville | ||||
| 0:00-2:31 | 03:41 | |||
| 1. 0:00-3:07 | 00:00 | 06:25 | ||
| Redneck Eats | ||||
| 3. 0:11-0:56 | 01:50 | 08:34 | ||
| 3. 0:56-2:21 | Piano/Drum Duet (YCDTOSA 5) | 1:02-2:49 | 02:30 | 09:12 |
| Sealed Tuna | ||||
| This Town... | 05:19 | 11:53 | ||
| Promenade | 05:58 | 12.34 | ||
| Bolero (0:00-1:00) | 08:12 | 14:46 | ||
| 09:21 | 15:59 | |||
| Bolero (1:00-1:39) | 10:25 | 18:01 | ||
| Dance of the Just Plain Folks | ||||
| 7. 0:04-0:17 | 0:00-0:14 | 11:22 | 19:15 | |
| 7. 0:17-0:22 | 11:35 | 19:30 | ||
| 7. 0:22-0:36 | ||||
| 11:37 | 19:32 | |||
| 0:14-0:47 | ||||
| 7. 0:36-0:50 | 0:47-1:06 | 11:49 | 19:45 | |
| 1:06-1:24 | 20:00 | |||
| 1:24-2:16 | 20:15 | |||
| Some Ballet Music (?) | 2:16-2:36 | 21:00 | ||
| 7. 0:50-1:06 | Music For Low Budget Orchestra (Ponty) 17:16-17:26 | |||
| 7. 1:22-1:30 | 2:36-2:43 | 21:17 | ||
| 2:43-2:52 | 21:26 | |||
| 2:52-3:09 | 21:35 | |||
| 3:09-3:14 | ||||
| 7. 1:30-1:34 | 3:14-3:20 | |||
| 3:20-3:37 | ||||
| 7. 1:43-1:51 | 3:37-3:44 | |||
| 3:44-4:40 | ||||
| What Ever Happened To All The Fun In The World? | (Pleated Gazelle Finale) | 21:45 | ||
| 12:02 | 22:52 | |||
This piece is a parody of movie music cliches and mannerisms. It is derived from themes first performed by members of the BBC Symphony during a MOTHERS OF INVENTION concert October 28, 1968 at the Royal Festival Hall in London (the original recording has been included in the Mystery Disc of THE OLD MASTERS, BOX II). The themes were further developed in the film '200 MOTELS.' An early version of BOGUS POMP (for 40-piece orchestra) was released on the ill-fated ORCHESTRAL FAVORITES album in the mid-70's.
Built into the compositions is a little psychodrama based on the idea that in an orchestra, the principal violist never gets a good solo. What happens in the minds of the other principal string players when the lowly viola gets all the hot licks? Something stupid, of course, culminating in the principal cellist's improvised emotional outburst near the end of the piece. All of this is supported by cheesy fanfares, drooling sentimental passages and predictable 'scary music.'
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