10/9/25 – South Davis Library – Bountiful

Who are the Rhythm Red Devils? We are a community jazz band based in Davis County comprising of both seasoned musicians with over 50 years of big band performance and promising jr. high & high school students. The goal is to allow younger musicians that have a passion for music to experience playing side by side with some of the finest musicians in the community. Due to this mix of experience sometimes we experience what can only be described as a train wreck, but this is part of the learning process too.

Here are your Rhythm Red Devils​

Reeds

Doug Bailey – Alto Sax/Director
David Irvine – Alto Sax
Jon Coombs – Flute/Tenor Sax
Dale Reese – Tenor Sax
Liv Johnson – Tenor Sax
Matthew Bailey – Baritone Sax

Trumpets

Brandon Tucker
Camden Beckstrand
Becca “Boo” Bailey
Elliot Anderson

Trombones

Parker Twelves
Zach Allred
Aaron “Oz” Ozminski
Mike Nybo

Rhythm

Nick Moss – Piano
Craig Nybo – Bass
Dave McNamee – Bass
Rob Griffin – Guitar
Keith Moon – Drums

Vocals

Dane Anderson
Kori Robins

Here is the playlist

1 Paganini

  • Written by: Craig Nybo
  • Arranged by: Craig Nybo
  • Page Number: New
  • Book Number: Red Folder

2 Waltzed and Confused

  • Year: 2025
  • Written by: Rob Griffen
  • Arranged by: Rob Griffen
  • Page Number: New
  • Book Number: Red Folder

3 Circus Freak

  • Audio Example:
        NOTE: You CAN play along with this example. Midi from muse score: Slower practice MP3 can be found at: https://rhythmreddevils.com/wp-content/uploads/2025/09/Circus-Freak-SLOW-PRACTICE-120bpm.mp3
  • Year: 2025
  • Written by: Griffin Gillen
  • Arranged by: Doug Bailey
  • Page Number: New
  • Book Number: Red Folder
  • Beats Per Minute: ♩ = 174
  • Key Signature: Fm
  • Time Signature: 4/4


  • This song was originally written with only Clavier, Hammond Organ, and rhythm section. This arrangement is unique for Rhythm Red Devils.

4 Satan Doll

  • Audio Example:
        NOTE: You CAN play along with this example. Midi Audio
  • Year: 2025
  • Written by: Craig Nybo
  • Arranged by: Craig Nybo
  • Page Number: New
  • Book Number: Red Folder
  • Beats Per Minute: ♩ = 110
  • Key Signature: A minor
  • Time Signature: 4/4

5 Mii Channel Theme - Nintendo Wii

  • Audio Example:
        NOTE: You CAN play along with this example. Changed the key signature but doesn't affect overall playing.
  • Year: 1997
  • Written by: Kazumi Totaka
  • Arranged by: Carlos Eiene
  • Page Number: New
  • Book Number: Red Folder
  • Beats Per Minute: ♩ = 120
  • Key Signature: Bb
  • Time Signature: 4/4

6 Shaft

7 Fly Me To The Moon

  • Audio Example:
        NOTE: You CAN play along with this example.
  • Year: 1954
  • Written by: Bart Howard
  • Arranged by: Sammy Nestico
  • Page Number: 17
  • Book Number: 1
  • Beats Per Minute: ♩ = 112
  • Key Signature: Ab
  • Time Signature: 4/4


  • "Fly Me to the Moon", originally titled "In Other Words", is a song written in 1954 by Bart Howard. The first recording of the song was made in 1954 by Kaye Ballard. Frank Sinatra's1964 version was closely associated with the Apollo missions to the Moon. In 1954, when he began to write the song that became "Fly Me to the Moon", Bart Howard had been pursuing a career in music for over 20 years, Howard wrote the song for his partner of 58 years, Thomas Fowler.[2] He played piano to accompany cabaret singers, but also wrote songs with Cole Porter, his idol, in mind.[3] In response to a publisher's request for a simpler song,[4] Bart Howard wrote a cabaret ballad[5] which he titled "In Other Words". A publisher tried to make him change some words from "fly me to the Moon" to "take me to the Moon," but Howard refused.[6]Many years later Howard commented that "... it took me 20 years to find out how to write a song in 20 minutes."[6] He used his position as a piano accompanist and presenter at the Blue Angel cabaret venue to promote the song,[4] and it was soon introduced in cabaret performances by Felicia Sanders.[3] The song was composed in 3/4 time signature but was changed to 4/ 4 by Quincy Jones in his arrangement.[7][permanent dead link][citation needed]

8 Elvira

  • Audio Example:
        NOTE: This is an example only! You CAN NOT play along with this.
  • Year: 1966
  • Arranged by: Bob Lowden
  • Page Number: New
  • Book Number: Red Folder


  • Songwriter Dallas Frazier wrote "Elvira" in 1966 and included it as the title track of an album he released that year. The title of the song was inspired not by the name of a woman, but by the name of a street in East Nashville, Tennessee.[1] The song's chorus bears a resemblance to the song "Searchin" written by Jerry Leiber and Mike Stoller and recorded famously by the Coasters. Frazier's version peaked at No. 72 on the Billboard Hot 100, and was a top 40 hit in Canada, reaching No. 27.[2] A number of other artists recorded the song through the years with varying degrees of success, most notably Kenny Rogers and the First Edition.[3] Rogers' version appeared on the album Something's Burning, which reached the top 30 of the Billboard 200. In 1978, alternative country recording artist Rodney Crowell recorded his cover of "Elvira" (with "Ashes by Now" on the B-side).[4] Crowell's version hit No. 95 on Billboard's country chart.[3]

9 Killer Joe

  • Audio Example:
        NOTE: This is an example only! You CAN NOT play along with this.Original Benny Golson recording. Follow the style.
  • Year: 1960
  • Arranged by: Michael Sweeney
  • Page Number: 44
  • Book Number: 1
  • Time Signature: 4/4


  • "Killer Joe" was first released on the Jazztet's 1960 album titled "Meet the Jazztet." The composition became one of Benny Golson's most well-known and frequently performed pieces. The tune is characterized by its catchy melody and has been embraced by jazz musicians across generations. The Jazztet's recording of "Killer Joe" features a distinctive hard bop sound and showcases the talents of the ensemble's members. Over the years, the composition has been covered by numerous artists and has become a jazz standard in its own right. Its enduring popularity is a testament to Benny Golson's skill as a composer and the timeless appeal of the piece.

10 Beauty and the Beast

  • Audio Example:
        NOTE: You CAN play along with this example.
  • Year: 1991
  • Written by: Howard Ashman and Alan Menken
  • Arranged by: John Berry
  • Page Number: 8
  • Book Number: 1
  • Time Signature: 4/4


  • Following a difficult period during where Walt Disney Feature Animation struggled to release successful animated feature films, the studio, inspired by their most recent animated success The Little Mermaid (1989), decided to adapt the fairy tale "Beauty and the Beast" into an animated musical film after a non-musical adaptation had been attempted that failed to impress Jeffrey Katzenberg, the chairman of Walt Disney Studios. Katzenberg ordered that production on the film be started over from scratch, hiring songwriting team Howard Ashman and Alan Menken, who had just recently completed scoring The Little Mermaid, to write the film's songs. Dion and Bryson were hired to record a pop version of – and draw media attention to – the film's title song. Ashman, who was initially hesitant to join the project, died of AIDS before the film's completion and the album's release. Like the film, the soundtrack was a massive critical success, receiving universal praise and recognition from both film and music critics. The music featured on the album won several awards, including the Golden Globe Award for Best Original Score, the Academy Award for Best Original Score and the Grammy Award for Best Instrumental Composition Written for a Motion Picture or for Television. Its title track and only single, "Beauty and the Beast", achieved similar success, winning the Golden Globe Award for Best Original Song, Academy Award for Best Original Song and Grammy Awards for both Best Song Written for Visual Media and Best Pop Performance by a Duo or Group with Vocals. The soundtrack was also nominated for a Grammy Award for Album of the Year. On December 18, 2001, the soundtrack was re-released as a Special Edition to coincide with the IMAX re-issue of the film and the upcoming two-disc Platinum Edition. The new release featured the film version of "Transformation", which had been replaced with an early unused version in some early pressings, the newly animated song "Human Again", the original instrumental intended for the "Transformation" scene, (titled "Death of the Beast (Early Version)" here) and demos for "Be Our Guest" and the title track. On September 14, 2010, the soundtrack was re-released again as a Diamond Edition soundtrack, to coincide with the successful Blu-ray and DVD Diamond Edition release of the film, the 1991 version of the soundtrack was released and included Jordin Sparks' cover of "Beauty and the Beast" as a bonus track. The soundtrack was reissued as the fourteenth entry in The Legacy Collection on February 9, 2018 and includes previously unreleased score.

11 Embraceable You

  • Audio Example:
        NOTE: You CAN play along with this example.
  • Year: 1930
  • Written by: George Gershwin
  • Arranged by: Dave Wolpe
  • Page Number: 23
  • Book Number: 1


  • "Embraceable You" is a jazz standard song with music by George Gershwin and lyrics by Ira Gershwin. The song was written in 1928 for an unpublished operetta named East Is West. It was published in 1930 and included in that year's Broadway musical Girl Crazy, performed by Ginger Rogers in a song and dance routine choreographed by Fred Astaire. Billie Holiday's 1944 recording was inducted into the Grammy Hall of Fame in 2005.[1]



12 Beyond The Sea

13 Over The Rainbow

  • Audio Example:
        NOTE: You CAN play along with this example.
  • Year: 1939
  • Written by: E.Y. Harburg and Harold Arlen
  • Arranged by: Dave Wolpe
  • Page Number: 2
  • Book Number: 1
  • Beats Per Minute: ♩ = 65
  • Key Signature: Bb
  • Time Signature: 4/4


  • "Over the Rainbow" is a ballad by Harold Arlen with lyrics by Yip Harburg.[1] It was written for the 1939 film The Wizard of Oz, in which it was sung by actress Judy Garland[2] in her starring role as Dorothy Gale.[1] It won the Academy Award for Best Original Song and became Garland's signature song. About five minutes into the film, Dorothy sings the song after failing to get Aunt Em, Uncle Henry, and the farmhands to listen to her story of an unpleasant incident involving her dog, Toto, and the town spinster, Miss Gulch (Margaret Hamilton). Aunt Em tells her to "find yourself a place where you won't get into any trouble". This prompts her to walk off by herself, musing to Toto, "Someplace where there isn't any trouble. Do you suppose there is such a place, Toto? There must be. It's not a place you can get to by a boat, or a train. It's far, far away. Behind the moon, beyond the rain", at which point she begins singing.

14 Cha Cha Cha For Judy

  • Audio Example:
        NOTE: You CAN play along with this example. They play a repeat at the end that is not in the chart.
  • Year: 1959
  • Written by: Marshall Brown
  • Arranged by: Marshall Brown
  • Page Number: 53
  • Book Number: 1
  • Beats Per Minute: ♩ = 120
  • Time Signature: 4/4


  • There is no information on the piece Cha Cha Cha for Judy so the following is about the composer.

    About the composer

    Brown graduated from New York University with a degree in music.[2] He was a band teacher in New York City schools, and one of his school bands performed at the Newport Jazz Festival in the 1950s.[2] With George Wein, he went to Europe to look for musicians for the International Youth Band.[2] In the late 1950s he started the Newport Youth Band.[2] His students included Eddie Gomez, Duško Gojković, George Gruntz, Albert Mangelsdorff, Jimmy Owens, and Gabor Szabo.[2] He worked with Ruby Braff, Bobby Hackett, Lee Konitz, and Pee Wee Russell.[2]

    As leader

    • The Ruby Braff-Marshall Brown Sextet (United Artists, 1960)
    • Live at the Chi Chi Club (Avalon, 1970)

    As sideman

    • Count Basie, Basie's Beat (Verve, 1967)
    • Beaver Harris, From Rag Time to No Time (360 Records, 1975)
    • Lee Konitz, The Lee Konitz Duets (Milestone, 1968)
    • Lee Konitz, Peacemeal (Milestone, 1970)
    • Pee Wee Russell, New Groove (Columbia, 1963)
    • Pee Wee Russell, Ask Me Now! (Impulse!, 1966)
    • George Wein, George Wein & the Newport All-Stars (Impulse!, 1963)


15 Spooky

  • Audio Example:
        NOTE: You CAN play along with this example.
  • Year: 1965
  • Written by: J.R. Cobb, Buddy Buie, Harry Middlebrooks, and Mike Shapiro
  • Arranged by: Roger Holmes
  • Page Number: New
  • Book Number: Red Folder
  • Key Signature: Eb
  • Time Signature: 4/4


  • "Spooky" is originally an instrumental song performed by saxophonist Mike Sharpe (Shapiro), written by Shapiro and Harry Middlebrooks Jr, which first charted in 1967 hitting No. 57 on the US pop charts and No. 55 on the Canadian charts.[3][4] Its best-known version was created by James Cobb and producer Buddy Buie for the group Classics IV when they added lyrics about a "spooky little girl". The vocalist was Dennis Yost.[5] The song is noted for its eerie whistling sound effect depicting the spooky woman. It has become a Halloween favorite.[6] In 1968, the vocal version reached No. 3 on the U.S. Billboard Hot 100,[7] No. 1 in Canada,[8] and No. 46 in the UK.[9]

16 Peter Gunn

  • Audio Example:
        NOTE: You CAN play along with this example.
  • Year: 1958
  • Written by: Henry Mancini
  • Arranged by: Paul Jennings
  • Page Number: New
  • Book Number: Red Folder
  • Beats Per Minute: ♩ = 112
  • Key Signature: C
  • Time Signature: 4/4


  • "Peter Gunn" is the theme music composed by Henry Mancini for the television show of the same name.[2] The song was the opening track on the original soundtrack album, The Music from Peter Gunn, released by RCA Victor in 1959.[3] Mancini won an Emmy Award and two Grammys for Album of the Year and Best Arrangement.[4] In 2005, the song was inducted into the Grammy Hall of Fame.[5]

    Recording and releases

    [edit]
    In his 1989 autobiography, Did They Mention the Music?, Mancini states:
    The Peter Gunn title theme actually derives more from rock and roll than from jazz. I used guitar and piano in unison, playing what is known in music as an ostinato, which means obstinate. It was sustained throughout the piece, giving it a sinister effect, with some frightened saxophone sounds and some shouting brass. The piece has one chord throughout and a super-simple top line.[4]
    In the original recording of the song, the piano riff is played by John Williams, who went on to become an influential film composer. Mancini arranged the first single version of the song for trumpeter Ray Anthony in 1959. Recorded for Capitol Records at Radio Recorders[6] and featuring tenor saxophonist Plas Johnson, it reached number eight on the Billboard Hot 100, number 12 on the R&B chart,[7] and number 13 in Canada.[8] Mancini has recorded several different versions of his theme music including "Señor Peter Gunn" on his 1965 album, The Latin Sound of Henry Mancini, and in a new arrangement for the 1967 movie Gunn...Number One!.[9] Lyrics were added by Jay Livingston and Ray Evans and first recorded in 1965 by Sarah Vaughan in an arrangement by Bill Holman on her album Sarah Vaughan Sings the Mancini Songbook.[10] Mancini also recorded a vocal version titled "Bye Bye" that is on his 1967 soundtrack album Gunn...Number One!.[11]

    Other charting versions

    [edit]
    In addition to the many different arrangements of the "Peter Gunn" theme recorded by Mancini, the music has also been recorded by numerous other artists. Versions that reached the record charts include:
    • An instrumental version by guitarist Duane Eddy reached number six on the UK Singles Chart on June 25, 1959,[12] number 27 on the Billboard Hot 100 on November 14, 1960,[13] and number 30 in Canada November 28, 1960.[14]
    • Deodato released a version of the song in 1976, which reached number 20 on the US dance chart, number 84 on the Billboard Hot 100, and number 96 on the R&B chart.[7]
    • Art of Noise released a version of the song featuring Eddy in 1986, which reached number two on the US dance chart, number eight in the UK, number 14 in Canada,[15] and number 50 on the Billboard Hot 100. It was featured on their 1986 album In Visible Silence, and was awarded a Grammy for Best Rock Instrumental Performance.[16] In Canada, the song spent 20 weeks in the top 100,[17] and was number 84 in the year-end chart.[18]
    • The B-52's adapted Mancini's ostinato or riff and added lyrics for their song "Planet Claire".[19] It is used as the opening track on the group's 1979 self-titled debut album. In AllMusic review, Stewart Mason describes the instrumental opening to the song as "space sounds blend[ing] into a jumpy, speeded-up version of Henry Mancini's 'Peter Gunn' theme mixed with sounds that could have been lifted from one of Joe Meek's 'Telstar' follow-ups, followed by a lengthy wordless vocal and organ section that recalls the theme from Star Trek."[19] Released on an EP, it reached number 24 on Billboard's Disco Hot 100 chart.[20]
    • Pittsburgh-based rock band The Silencers included a pounding guitar-driven cover of the song on their 1980 LP "Rock and Roll Enforcers." It was the opening song of their medley video that premiered on the day that MTV began operation: August 1, 1981. It was the 40th song ever shown on the network (see list of all videos). The video was played in regular rotation on MTV and was voted the #3 most popular video of 1981.

    Notable media appearances

    [edit]
    "Peter Gunn" appeared as background music in various scenes of the film The Blues Brothers and on its soundtrack album, as recorded by The Blues Brothers Band. An electronic arrangement of "Peter Gunn" plays throughout the video game Spy Hunter[21] and Spy Hunter II. The theme was used in Stitch! The Movie and The Lion King 1½, as well as Waterworld. The song was featured on Rock n' Roll Racing video game.

17 Night Train To Kansas City

  • Audio Example:
        NOTE: You CAN play along with this example.
  • Year: 1948, 1954, 2000
  • Written by: Luther Henderson, Jr., Leonard Ware, Jerry Leiber, and Mike Stoller
  • Arranged by: Eric Burger
  • Page Number: 40
  • Book Number: 1
  • Beats Per Minute: ♩ = 130
  • Key Signature: F
  • Time Signature: 4/4


  • Night Train To Kansas City is a combination of two great songs with a fun solos section in the middle. We never know quite what is going to happen when this song is called up. "Night Train" , published in 1948, has a long and complicated history. The piece's opening riff was first recorded in 1940 by a small group led by Duke Ellington sideman Johnny Hodges, under the title "That's the Blues, Old Man". Ellington used the same riff as the opening and closing theme of a longer-form composition, "Happy-Go-Lucky Local", that was itself one of four parts of his Deep South Suite. Forrest was part of Ellington's band when it performed this composition, which has a long tenor saxophone break in the middle. After leaving Ellington, Forrest recorded "Night Train" on United Records and had a major rhythm & blues hit. While "Night Train" employs the same riff as the earlier recordings, it is used in a much earthier R&B setting. Forrest inserted his own solo over a stop-time rhythm not used in the Ellington composition. He put his own stamp on the tune, but its relation to the earlier composition is obvious.[3] "Kansas City", published in 1954, was written by Jerry Leiber and Mike Stoller, two nineteen-year-old rhythm and blues fans from Los Angeles. Neither had been to Kansas City, but were inspired by Big Joe Turner records.[3]
    I'm goin' to Kansas City, Kansas City here I come (2×) They got a crazy way of lovin' there, and I'm gonna get me some I'm gonna be standing on the corner, of Twelfth Street and Vine (2×) With my Kansas City baby, and a bottle of Kansas City wine
    Through a connection to producer Ralph Bass, they wrote "Kansas City" specifically for West Coast blues/R&B artist Little Willie Littlefield.[2] There was an initial disagreement between the two writers over the song's melody: Leiber (who wrote the lyrics) preferred a traditional blues song, while Stoller wanted a more distinctive vocal line; Stoller ultimately prevailed. They taught the song to Littlefield at Maxwell Davis' house, who arranged and provided the tenor sax for the song.[2] Littlefield recorded the song in Los Angeles in 1952, during his first recording session for Federal Records, a King Records subsidiary. Federal's Ralph Bass changed the title to "K. C. Loving",[4] which he reportedly considered to sound "hipper" than "Kansas City". Littlefield's record had some success in parts of the U.S., but it did not reach the national chart.

18 Batman

  • Audio Example:
        NOTE: You CAN play along with this example.
  • Year: 1966
  • Written by: Neal Hefti
  • Page Number: 1
  • Book Number: 2
  • Time Signature: 4/4


  • "Batman Theme", the title song of the 1966 Batman TV series, was composed by Neal Hefti. This song is built around a guitar hook reminiscent of spy film scores and surf music. It has a twelve bar blues progression, using only three chords until the coda. The eleven cries of "Batman!" are sung by a chorus of four tenors and four sopranos (performed by The Ron Hicklin Singers). A common misconception is that the chorus is actually a horn section, a rumor began shortly after the TV series ended its initial run in 1968, and gained attention from Adam West's 1994 book Back to the Batcave, in which he incorrectly recalled that the theme featured horns rather than vocals. Neal Hefti, the writer of the theme, stated that the chorus was made up of eight singers, one of whom jokingly wrote on his part, "word and music by Neal Hefti".[1] According to TV's Biggest Hits by Jon Burlingame, which includes an interview with Hefti about the creation of the song, the song consists of "bass guitar, low brass and percussion to create a driving rhythm, while an eight-voice chorus sings 'Batman!' in harmony with the trumpets".[2][3] In addition to Neal Hefti's original version, and the movie soundtrack version by Nelson Riddle,[4] versions were covered by The Marketts (single "Batman Theme" and album The Batman Theme by The Marketts), The Ventures (The Ventures Play the "Batman" Theme, Dolton BST8042, 3/1966), Al Hirt, The Standells and actor/musician David McCallum. The song has been parodied in the more than half-a-century since its debut. The theme has been re-recorded by dozens of artists, including Link Wray,[5] Voivod,[6] The Jam,[7] The Who,[8] and The Kinks.[8]



19 Black Magic Woman

  • Written by: Peter Green
  • Arranged by: Art Dedrick
  • Page Number: New
  • Book Number: Red Folder


  • "Black Magic Woman" is a song written by British musician Peter Green, which first appeared as a single for his band Fleetwood Mac in 1968. Subsequently, the song appeared on the 1969 Fleetwood Mac compilation albums English Rose (US) and The Pious Bird of Good Omen (UK), as well as the later Greatest Hits and Vintage Years[2] compilations. In 1970, the song was released as the first single from Santana's album Abraxas. The song, as sung by Gregg Rolie, reached number four on the US and Canadian charts, and its chart success made Santana's recording the better-known version of the song.[3] The song was also covered by former Fleetwood Mac member Bob Welch on his 2006 album His Fleetwood Mac Years and Beyond, Vol. 2. Although Welch was not a member of the group at the time of the original recording, he had performed a number of Peter Green's songs during his time with the band.

    Composition

    [edit]
    "Black Magic Woman" was written by Peter Green in 1968, with lyrics inspired by his former girlfriend, Sandra Elsdon, whom Green had nicknamed "Magic Mamma".[4][3] Green has acknowledged that "Black Magic Woman" was musically influenced by "All Your Love",[5] an Otis Rush song that had been recorded two years earlier by Green's former band, John Mayall & the Bluesbreakers (albeit with Eric Clapton, Green's predecessor, on lead guitar). Green said in Peter Green: The Biography: "One of things [Mayall] said was that if you really like something, you should take the first lines and make up another song from them. So that's what I did with 'Black Magic Woman'."[3] "Black Magic Woman" is a minor blues with a Latin rhythm first explored in Green's "I Loved Another Woman" in Fleetwood Mac's 1968 self-titled debut album.[3]

    Structure

    [edit]
    "Black Magic Woman" has the same chord structure, guitar breaks, and even a similar melody to "I Loved Another Woman". Set in the key of D minor, the verse follows a twelve bar chord progression alternating between D minor7, A minor7, and G minor7, and the instrumentation consists of vocals, two guitars, bass guitar and drums. It is homophonic, the voice and lead guitar taking the lead roles. The song is set in common time (4/4), with the rhythm "pushing" on the upbeat, then breaking into a shuffle beat root -chord jam after the final verse.[6] D minor 7 | D minor 7 | A minor 7 | A minor 7 | D minor 7 | D minor 7 | G minor 7 | G minor 7 | Dm 7 - C 7 | Bb 7 - A 7 | D minor 7 | D minor 7 The original recording by Fleetwood Mac featured guitars that were slightly below standard pitch. Green started the song with a D minor triad down on the 17th fret played on one guitar with vibrato, creating a shimmering effect. A slide guitar playing the same chord is faded in over the top.[citation needed] A slightly distorted solo is played in the middle of the song.[7]

    Performance

    [edit]
    Fleetwood Mac's "Black Magic Woman" was released as a single in 1968, and reached number 37 on the UK Singles Chart.[3] The song was featured in Fleetwood Mac's live set-lists even after Green had left the band, when it was usually sung by Danny Kirwan. By the 1987's Shake the Cage Tour, performance of "Black Magic Woman" was blocked by John McVie who felt the song too closely linked to Santana.[8] Stevie Nicks performed the song with slight changes in lyrics in the 2018-2019 tour An Evening with Fleetwood Mac.[9] Peter Green played the song with Santana at the 1998 Rock and Roll Hall of Fame Induction Ceremony where the inductees included both Fleetwood Mac and Santana.[10][11]

    Santana Version

    Background

    [edit]
    Santana's version, recorded in 1970, is a medley with Gábor Szabó's 1966 instrumental "Gypsy Queen", a mix of jazz, Hungarian folk and Latin rhythms. The song became one of Santana's staples and one of their biggest hits, with the single spending 13 weeks on the Billboard Hot 100 chart and peaking at number four in January 1971,[15] their highest-peaking Hot 100 hit until 1999’s "Smooth". Santana's 1970 album, Abraxas, reached no. 1 on the charts and hit quadruple platinum in 1986, partially thanks to "Black Magic Woman". "Gypsy Queen" was omitted from the single version contained on 1974's Santana's Greatest Hits album, even though radio stations usually play "Black Magic Woman" and "Gypsy Queen" as one song.

    Structure

    [edit]
    While the song follows the same general structure of Peter Green's version, also set in common time, in D minor and using the same melody and lyrics, it is considerably different, with a slightly altered chord pattern (Dm7– Am7–Dm7–Gm7–Dm7–Am7–Dm7), occasionally mixing between the Dorian and Aeolian modes, especially in the song's intro. A curious blend of blues, rock, jazz, 3/2 afro-Cuban son clave, and "Latin" polyrhythms, Santana's arrangement added conga, timbales and other percussion, in addition to organ and piano, to make complex polyrhythms that give the song a "voodoo" feel distinct from the original.[16] The introduction of the song, which was adapted from Szabó's "Gypsy Queen", consists of simple hammer-ons, pull-offs and slides on the guitar and bass, before moving into the introductory guitar solo of "Black Magic Woman". After the introductory solo, which follows the same chord progression as the verse, the song moves into an eight-bar piano solo in D minor, and proceeds to two verses sung by keyboardist Gregg Rolie. Two verses of guitar solo follow the two sung verses, which are then succeeded by another verse, before moving into a modified version of the "Gypsy Queen" section from the beginning of the song to end the piece. There is also a single edit, a slightly shorter version of the song that omits the opening piano solo and the "Gypsy Queen" portion, that runs for 3:15, while some radio versions play the full recording. Other longer versions have since been released, including one version which runs for 8:56.[citation needed]

20 Monday Night Football

  • Audio Example:
        NOTE: This is an example only! You CAN NOT play along with this.New audio is coming...
  • Year: 2024
  • Written by: Charles Fox & Robert Griffin
  • Arranged by: Robert Griffin
  • Page Number: New
  • Book Number: Red Folder
  • Beats Per Minute: ♩ = 124
  • Key Signature: Eb
  • Time Signature: 4/4


  • Arranged by our very own Robert Griffin

    This arrangement is the first original chart by Robert Griffin that the Red Devils have played. It is based on the "Monday Night Football" theme or officially titled work "Score" by Charles Fox (circa 1970).

    ‘Score’

    “Monday Night Football” began airing on ABC in 1970 and kicked off with an opening theme of “Score” composed by Charles Fox. The groovy, funky pop number was produced by Bob’s Band, headed by Bob Israel, who also created theme songs for other ABC shows such as “20/20” and “Nightline.” “Score” remained the show’s intro song until 1975. Composed in 1970 by Johnny Pearson, the tune that eventually became one of the most famous show intros in television history was first heard on “Monday Night Football” in the 1976 season-opening broadcast. The song was mainly used as background music for its first decade-plus of MNF airing and became a more integral part of the show’s opening in 1989, when it was modernized by Edd Kalehoff.

 


BAND MEMBERS: bring your own stand and arrive in time for downbeat at 6:30 PM. Setup will begin as early as 6:00 PM.

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Date

Oct 09 2025

Time

Setup as early as 6 DB @ 6:30
6:30 pm - 8:30 pm
Bountiful Library (South Davis Branch)

Location

Bountiful Library (South Davis Branch)
725 S Main St, Bountiful, UT 84010

We preform downstairs in the large auditorium.

Category
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