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On The Atchison, Topeka And The Santa Fe 2:10 °° 02. Sentimental Journey 2:32 °° 03. Casey Jones 2:38 °° 04. Sleeper Car 2:42 °° 05. The Wreck Of The Old '97 1:51 °° 06. Ghost Train 2:32 °° 07. Chattanooga Choo Choo 2:04 °° 08. I've Been Working On The Railroad 2:19 °° 09. Where Do You Work-A John? 2:34 °° 10. Sleepy Town Express 2:12 °° 11. Lonely Train 2:32 °° 12. Alabamy Bound 1:43 °° °° °° °° ÉÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ» °° º N O T E S º°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°° °° ÈÍÍÍÍÍÍÍÍÍÍÍÍÍÍͼßßßßßßßßßßßßßßßßßßßßßßßßßßßßßßßßßßßßßßßßßßßßßßßßßßßßßßßßß °° °° Composer/arranger Kenyon Hopkins is probably best remembered today for °° his work as music director for the television series The Odd Couple and °° The Brady Bunch, but his work in music long predated and easily °° transcended any hit television series. Hopkins' career bridged two °° musical periods, from the end of the big-band era to post-war filmmaking, °° and he was good enough to work with some of the best in both fields. But °° it was as a creator of instrumental mood music -- what we now call space °° age pop -- that he first insinuated himself on the public. °° °° Born in Coffeyville, Kansas, Hopkins was the son of a minister. He was °° raised in Michigan and studied music theory and composition at Oberlin °° College and Temple University, graduating from the latter school in 1933. °° Hopkins headed for New York City, where he soon began getting work as an °° arranger, primarily in association with conductor Andre Kostelanetz. He °° later spent three years employed by Paul Whiteman, and moved into °° arranging, composing, and conducting for radio and the theater. After a °° three-year stint in the Coast Guard during World War II, he returned to °° music and became an arranger/composer for bandleader Raymond Paige. °° °° As a recording artist, he was initially signed to Capitol Records, for °° which he cut a trio of mood instrumental albums (i.e., bachelor pad °° recordings): Ridin' the Rails, Contrasting Colors, and Swingin' Serenade. °° He made his biggest mark, however, with a series of atmospheric mood °° albums cut in collaboration with producer Creed Taylor, entitled Shock!, °° Panic!: Son of Shock, Nervous Beat: Lonelyville, New York, New York: The °° Sound of New York, and Ping Pang Pong: The Swinging Ball -- the latter an °° extraordinary percussion showcase record -- for ABC-Paramount in the late °° '50s. Hopkins was already under contract to Capitol Records, for which he °° had recorded a trio of LPs, which resulted in his ABC albums being °° credited to the Creed Taylor Orchestra. °° °° Hopkins made his career primarily in New York during the '50s -- for ten °° years, from 1951 until 1961, he was the chief composer and arranger at °° Radio City Music Hall. Hopkins first started writing music for films in °° 1956 with Elia Kazan's Baby Doll and Sidney Lumet's 12 Angry Men. Hopkins °° maintained a dual career over the next several years, alternating between °° movies, radio, and theater, with the occasional recording, and even a °° classical piece or two worked in between these assignments: his serious °° works include a ballet entitled Rooms (which was recorded and released by °° Cadence Records), "Symphony in Two Movements," and "Town and Country °° Dances for Chamber Orchestra." He also spent 1963-1964 as the director of °° music for the CBS radio network. Hopkins signed to Verve Records in the °° early '60s, which became one of the primary outlets for his subsequent °° soundtrack work, but also released a series of Sound Tour LPs devoted to °° different countries, which was more mood music of an international °° flavor. °° °° In television, Hopkins was the music director for the groundbreaking °° dramatic series East Side/West Side starring George C. Scott, and also °° for the programs Hawk, The Reporter, and The Undersea World of Jacques °° Cousteau, and occasional documentaries such as The Dialogue of Archibald °° MacLeish and Mark Van Doren. He was one of the most respected serious °° composers working in television, and two of the pieces on the Ping Pang °° Pong LP had actually been written as interpretive dance works that were °° performed on The Perry Como Show, no less. His film scores also stood out °° in sharp contrast to much of the competition at the time, and Hopkins °° became known for writing music that utilized very spare instrumentation °° and individual sections of the orchestra, effectively proving that less °° is more where certain dramatic subjects were concerned. The Fugitive Kind °° and Wild River were successful enough, and he was also the music director °° and composer on one Elvis Presley movie, Wild in the Country. °° °° Hopkins seemed to resonate extremely well to urban settings, especially °° New York's streets. His score for Robert Rossen's The Hustler was a case °° in point, a jazzy, near-minimalist body of music, moody and atmospheric °° yet so unobtrusive that it worked at the edges of the viewer's °° consciousness, often with only a handful of instruments at any given °° moment. Hopkins did similarly inspired work on the New York-filmed The °° Borgia Stick and Mr. Buddwing, as well as the New York-based series East °° Side/West Side, although he also ranged to subjects such as the ski drama °° Downhill Racer. °° °° In 1970, Hopkins became the director of music for Paramount Pictures' °° television division, which was how he became the music director on series °° such as The Odd Couple, Love American Style, and The Brady Bunch. On Love °° American Style, his scores skirted romance and comedy, while on The Odd °° Couple, he made inspired use of Neal Hefti's original movie theme °° material. °° °° https://play.google.com/store/music/album?id=Buuer4duosjvn5zdpggwuqvyzmu °° °°Û °°ÛÛÛ °Û °°°°ÛÛ Û²Û ÛÛÛÛ° °°°°°ÛÛ y o o v e e y o o ÛÛÛÛÛ ÛÛÛÛÛ °°°°°°ÛÛ g o t t h e ±ÛÛÛÛ° ÛÛ±±ÛÛ °°°°°°°Û ° ÛÛ²ÛÛ ²Û±ÛÛ °°°°°°°Û ÛÛÛ ÛÛÛ ÛÛÛ ÛÛÛ ÛÛÛ ÛÛÛÛ ±²ÛÛÛ ±ÛÛÛ °°°°°°°Û °Û Û°Û Û°Û Û°Û Û°Û °ÛÛÛÛÛÛÛ ÛÛÛÛ° °ÛÛÛ °°°°°°°Û °ÛÛÛ°ÛÛÛ°Û Û°ÛÛÛ°ÛÛÛ ÛÛÛÛÛÛÛÛÛ± ÛÛÛÛÛ ÛÛ °°°°°°°Û °Û °Û Û°Û Û°Û °°°Û ÛÛÛÛÛÛÛÛÛÛÛÛÛÛ ÛÛÛÛÛ Û °°°°°°ÛÛ °Û °Û Û°Û Û°Û °Û ÛÛÛÛÛÛÛÛÛÛÛÛÛÛÛÛÛÛ ÛÛÛÛ² °°°°°ÛÛ °Û °Û Û°Û Û°Û °Û ÛÛÛÛÛÛÛÛÛÛÛÛÛÛÛÛÛÛÛÛ± °°°°ÛÛ °Û °Û Û°Û Û°Û °Û ²ÛÛÛÛÛÛ±±±±ÛÛÛÛÛÛÛ° °°°ÛÛ °Û °Û Û°Û Û°Û °Û ²ÛÛÛÛÛ±ÛÛÛÛÛÛÛÛÛÛÛ °°°Û °Û °Û Û°Û Û°Û °Û ÛÛÛÛÛ±±°ÛÛÛÛÛÛÛÛ °°°Û °Û °Û Û°Û Û°Û °Û ÛÛ²ÛÛ±ÛÛ²ÛÛÛ± °°°Û °Û °Û Û°Û Û°Û °°°Û ÛÛÛÛÛÛÛÛÛÛ ÜÜÜÜÜÜÜÜÜÜÜÜÜÜÜÜÜÜÜÜÜÜÜÜÜ °°°Û °Û °Û Û°ÛÛÛ°Û °ÛÛÛ ±ÛÛÛÛÛÛÛ /ÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄ\ °°°ÛÛ ÛÛÛ °| shouts 2 all the groups |° °°°°ÛÛ ÛÛÛÛ °| putting out |° °°°°°ÛÛ ÛÛÛÛÛ °| quality music |° °°°°°°ÛÛÛ ÛÛÛÛ± \ÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄ/ °°°°°°°²²ÛÛÛÛÛÛÛÛÛÛÛÛÛ± ßßßßßßßßßßßßßßßßßßßßßßßßß