The Wizard of Oz is a beloved classic film that has captured the hearts of audiences for generations. One of the most iconic and memorable characters from the movie is the Wicked Witch of the West. Known for her green skin, cackling laugh, and flying monkeys, the Wicked Witch is a staple of the film. In one particular scene, the Wicked Witch rides a bike while trying to catch up with Dorothy and her companions. This scene is both comical and thrilling, as the Witch peddles furiously to pursue her enemies. The music that accompanies this scene is both whimsical and sinister, adding to the overall atmosphere of the film.
The dark side of "The Wizard of Oz'
Call it Dark Side of the Rainbow. Classic rockers are buzzing about the amazingly weird connections that leap off the screen when you play Pink Floyd's Dark Side of the Moon as the soundtrack to The Wizard of Oz.
It sounds wacky, but there really is a bizarre synchronization there. The lyrics and music join in cosmic synch with the action, forming dozens upon dozens of startling coincidences _ the kind that make you say, "Oh wow, man" even if you haven't been near a bong in 20 years.
Consider these examples: Floyd sings "the lunatic is on the grass" just as the Scarecrow begins his floppy jig near a green lawn. The line "got to keep the loonies on the path" comes just before Dorothy and the Scarecrow start traipsing down the Yellow Brick Road.
When disc jockey George Taylor Morris at WZLX-FM in Boston first mentioned the phenomenon on the air a couple of months ago, he touched off a frenzy.
"The phones just blew off the wall. It started on a Friday, and that first weekend you couldn't get a copy of The Wizard of Oz anywhere in Boston," he said. "People were staying home to check it out."
It's fun, he said, because everyone knows the movie, and the album _ which spent a record 591 straight weeks on the Billboard charts _ can be found in practically every record collection.
Dave Herman at WNEW-FM in New York mentioned the buzz a few weeks ago. The response, more than 2,000 letters, was the biggest ever in the DJ's 25-year career.
"It has been just unbelievable," said WNEW program director Mark Chernoff. "I've never seen anything like this."
Rock fans have always loved to speculate about hidden messages in their favorite albums. But seeking connections between the beloved 1939 classic film and the legendary 1973 rock album pushes the envelope of the music conspiracy genre.
Nobody from the publicity-shy band would comment, but Morris asked keyboardist Richard Wright about it on the air last month. He looked flummoxed and said he'd never heard of any intentional connection between the movie and the album.
But fans aren't convinced it's just a cosmic coincidence.
"I'm a musician myself, and I know how hard it is just to write music, let alone music choreographed to action," said drummer Alex Harm of Lowell, Mass., who put up one of two Internet Web pages devoted to the synchronicities. "To make it match up so well, you'd have to plan it."
Morris is convinced that Roger Waters, who split from Pink Floyd nearly 20 years ago, planned the whole thing without letting his fellow band members in on the secret.
"It's too close. It's just too close. Look at the song titles. Look at the cover. There's something going on there," Morris said.
Here's how it works. You start the album at the exact moment when the MGM lion finishes its third and last roar. It might take a few times to get everything lined up just right.
Then, just sit back and watch.
During Breathe, Dorothy teeters along a fence to the lyric "balanced on the biggest wave."
The Wicked Witch, in human form, first appears on her bike at the same moment a burst of alarm bells sounds on the album.
During Time, Dorothy breaks into a trot to the line "no one told you when to run."
When Dorothy leaves the fortuneteller to go back to her farm, the album is playing "home, home again."
Glinda, the cloyingly saccharine Good Witch of the North, appears in her bubble just as the band sings, "Don't give me that do goody goody bull__."
A few minutes later, the Good Witch confronts the Wicked Witch as the band sings, "And who knows which is which" (or is that "witch is witch"?).
The song Brain Damage starts about the same time as the Scarecrow launches into "If I Only Had a Brain."
But it's not just the weird lyrical coincidences. Songs end when scenes switch, and even the Munchkins' dancing is perfectly choreographed to the song Us and Them.
The phenomenon is at its most startling during the tornado scene, when the vocal sounds in The Great Gig in the Sky swell and recede in perfect time with the movie.
When Dorothy opens the door into Oz, the movie switches to rich color, and at that moment the album starts in with the tinkling cash register sound effects from Money.
Anyone who has ever nursed a hangover watching MTV with the sound off and the radio on can tell you how quick the brain is to turn music into a soundtrack for pictures. But this is uncanny.
The real fanatics will point out that Side One of the vinyl album is the exact length of the black-and-white portion of the movie. And then there's that iconic album cover, with its prism and rainbow echoing the movie's famous black-and-white-into-color switch _ not to mention Judy Garland's classic first song.
The real clincher, though, the moment when even the most skeptical of cynics has to utter a small "whoa!" comes at the end of the album, which tails off with the insistent sound of a beating heart.
What's happening on screen? Yep, you guessed it: Dorothy's got her ear to the Tin Man's chest, listening for a heartbeat.
Maybe it's just a string of coincidences. Maybe the mind is just playing some really cool tricks. Maybe some people just have way too much time on their hands.
Or maybe, as Pink Floyd sings to close out the album, everything under the sun really is in tune.
Wizard of oz witch on bike music
All of The Wizard of Oz sounds are sampled at 11kHz, except where noted.
Dorothy: What would you do with a brain if you had one?
Dorothy: Supposing you met an elephant?
Lion: I'd wrap him up in cellephant!
Wicked Witch: Ahhhh! You cursed rat, look what you've done! I'm melting. melting.
Dorothy: I'm not a witch at all. I'm Dorothy Gale, from Kansas.
A short bit of the "bike" music.
Wicked Witch: How about a little fire, Scarecrow?
Wicked Witch: My little party's just beginning.
Professor Marvel: Professor Marvel never guesses, he knows.
Dorothy: You're the best friends anybody ever had.
Doorman: Who rang that bell?
Dorothy: You wicked old witch!
"I am Oz. The great and powerful Oz knows WHY you have come"
"I'll get you, my pretty. and your little dog, too!"
oeo.wav (87K)
The Witch's Guards chant. Loops perfectly if you have a player that will loop.
"Toto. I have a feeling we're not in Kansas anymore."
PF/Wizard of Oz Sync
I. To begin, it is imperative that you begin the "Dark Side of the Moon" CD just as the MGM Lion roars for the third time in the opening of the movie. You will know if you are on if the transition from "Speak to Me" to "Breathe" occurs just as the credit for the producer, Mervyn LeRoy appears. If the appearance of the credit hits the music EXACTLY, then all is good. It is also necessary to set the CD player on repeat so that the CD begins again immediately upon its finish.
II. Different parts of the CD apply to different parts of the movie in different ways. Sometimes the lyrics will coincide with the scene. Sometimes the characters will accentuate the beat (particularly the hi-hat). So on and so on. The effects of this phenomenon become much more evident in the middle of the movie during the time that Dorothy meets the Lion, Tin Man and Scarecrow.
III. The First Black and White Scene
-- NOTE: Side one of the album (vinyl) is exactly as long as the black and white portion of the film.
The lyric, "balanced on the biggest wave," is sung just as Dorothy is balancing on the fence, and "On the Run" starts just as Dorothy falls off the fence. This creates a much "darker" feel than the movie by itself could. As Auntie Em is yapping, a female voice can be heard in the background of the album that stops just as Auntie Em stops running her mouth. Dorothy turns around and looks down just as the lyrics "look around, choose your own ground" are sung. As Dorothy is singing "Somewhere Over the Rainbow," she will often look up at the planes flying by in the music. Toto appears to be laughing at Dorothy as the laugh is heard in the background. Chimes and Bells start ringing as the mean old woman rides up on her bike. These fade when she gets off her bike, and she gets hit by the fence to the beat of the music. When inside, the music reflects the tome of the scene, especially the change when Dorothy shifts her attention to different characters. During this part of the movie, music/scene changes are most evident. The words "Past, Present, and Future" can be read on a sign outside of the fortune teller during the solo of "Time." The song "Great Gig in the Sky" begins just as Dorothy leaves the fortune teller. The tornado in the background takes on a "lazy" feel because of the music, and the words, "And I am not frightened of dying" appear. This is a much different feel than if the movie was watched without DSOTM. Drums kick in as the wind starts causing damage. As soon as Dorothy gets knocked out, the singer tones down and sings rather softly until the house lands. "Great Gig in the Sky" ends when the house lands and Dorothy wakes up. In fact, the music change occurs just as Dorothy opens her eyes. Also note, "Great Gig in the Sky" is playing while the house is actually in the sky. The sounds of "Money" bring in the color part of the movie just as Dorothy opens the door.
IV. Color Transition
The title "Us and Them" becomes very evident in this first scene with the Munchkins. The Munchkins dance to the music, and one of them walks across the screen while grooving to the bass line. The ballerinas enter on "us, us, us." The ballerina on the left lip-syncs some of the lyrics. The Lollipop Guild enters on "me, me, me." They even give the lollipop to Dorothy on the beat. "Forward he cried" is sung just as Dorothy turns to face forward. The Good Witch appears to play the bass on her wand. She also sways to the music. She even moves her fingers on the wand as though she really were playing the bass. She also seems to play some of the guitar solo. The Munchkin soldiers march to the beat, most notably when they bring their arms to their chests. The Wicked Witch appears right on the words "Black, black." The words "blue, blue" seem to relate to Dorothy, who is wearing a blue dress, but they do not hit right on the camera switch to Dorothy. We are assuming that this is true to accommodate a later coincidence in the movie. "And who knows which is which and who is who" is also sung in the scene during which the other Wicked Witch is discovered under the house, "witch is which. " The words "up, up" are sung as the Wicked Witch is on top of the platform, and the words "down, down" are sung as she walks down from the platform. "Out, out, out" is sung as the Good Witch disappears.
The song "Brain Damage" is playing. The Scarecrow accentuates the wawa guitar. The guitar will play whenever Dorothy or the Scarecrow talk. Their body movements correlate with the guitar almost exactly. When the Scarecrow is dancing while singing, he dances to the music. He really grooves to it.
The heartbeat is playing as Dorothy is banging on the Tin Man's chest. She pounds to the beat. The album repeats here and the heartbeat starts up again. When the Tin Man is all oiled up, he begins dancing right as the beat kicks in. He also dances to the music. The Tin Man makes steam come up from his head to the hi-hat beat.
The Lion's roar correlates with the roar-like sounds in the background. The Lion appears to be conducting the music as he speaks. He also appears to play the air-saxophone as the solo is played. All three characters skip to the beat during the scene change. A bat flying past the screen happens while an airplane flies by on the CD.
VIII. The Emerald Castle
While the four characters are in the field with the castle in the background the words "far away, across the field" are sung. Dorothy falls down to the music. Dorothy knocks on the door to the beat. The horse and the characters in the castle are all moving to the beat. A music change occurs as they begin to walk down the big hallway. When in the Wizard room, the fire shoots up to the music. The Lion jumps out of the window to "down, down." The Wicked Witch grooves to the music in the scene with Dorothy. The chimes heard at the beginning with the mean Witch on the bike are now accentuated by the cheering crowd in the hot-air balloon scene. Dorothy clicks her heels to the beat of the hi-hat.
IX. Home Home Again
The words "home, home again" are sung as Dorothy opens her eyes. The words "and in the end, we're only ordinary men" are sung when the three actors who play the Lion, Scarecrow, and Tin Man are talking to Dorothy. There is another music change just as the credits stop rolling.
X. Other Evident Themes
The cover of the album has a rainbow prism. The black and white light hits the prism and turns to color. On the original album, the prism on the back side of the album goes from color to black and white, just like the movie. The eye on the cover of "Pulse," which has a performance of all of DSOTM, has the bike, Dorothy, the Tin Man, the Scarecrow, the Lion and the Witch imbedded in it.
Wizard of oz witch on bike music
Fred Barton's acclaimed CD of his show Miss Gulch Returns! is available in select stores nationwide, at Amazon, CDBaby, i-Tunes and thirty other digital download services.
The expanded, remastered CD release of Fred Barton's acclaimed Miss Gulch Returns! contains his original performance, recorded before a live audience, plus two bonus tracks: "Take Me, Please" (the show's original opening number, suspended from the original LP release for time), and "Party Girl" (a preview of Fred Barton's new show The Two Svengalis, sung by Toni DiBuono and backed by a full Broadway orchestra arranged and conducted by Barton). Included is a twelve-page booklet with numerous photographs, production notes, and reviews.
The original album was produced by Fred Bracken, who had co-produced Fred Barton's original run of the show in New York in the mid-Eighties. The album has sold consistently since then, reaching the distant shores of England and Australia.
1. "You're The Woman I'd Wanna Be" – In a late night cabaret, Fred Barton meets Miss Gulch, whose distinctive personality so fascinates him that he can't help appropriating it for the evening.
2. "I'm A Bitch" – At last, Miss Gulch unveils the song that would have made her star of Oz, had not the moguls axed it to make room for You-Know-Who singing "Over The You-Know-What." (Note: the recording on this site was performed by Toni DiBuono)
3. "Born On A Bike" – Miss Gulch did not become an embittered also-ran overnight. She tells the tale from beginning, and any resemblance to Leonard Gershe's and Roger Eden's "Born In A Trunk" is strictly intentional.
4. "Pour Me A Man" – In case you're surprised to find Miss G. frequently the local bars, she now reveals herself as the definitive connoisseuse of liquid entertainment.
5. "Everyone Worth Taking" – Almira formulates her romantic philosophy, designed to survive all assaults from the optimist opposition.
6. "It's Not My Idea Of A Gig" – Fate dispenses to Miss Gulch a unique professional punishment, worthy a new chapter in Dante's Inferno.
7. "Don't Touch Me" – Miss Gulch ponders the mystery of women who actually have men and don't want them, and demonstrates their battle cry.
8. "I'm Your Bitch" – The impossible occurs. Miss Gulch meets a man. She gets right to the point.9. "Pour Me A Man (Part 2)" – Miss Gulch exults in the latest addition to her repertoire of favorite cocktails.
10. "Give My Best To The Blonde" – Bowing to the inevitable, Miss Gulch bids her man the ultimate goodbye.
11. "Everyone Worth Taking (Part 2)/Finale" – Expanding her impeccable philosophy to include her latest lesson in love, Almira bids us adieu, and rides securely off into the sunset.
12. "Take Me, Please" – This song was omitted from the original LP, but was always the opening number of Miss Gulch Returns!, performed by Fred Barton in black tie; it linked the show to its pianist-singer-patter-song ancestry and presented the theme of the evening.
13. "Party Girl" – Toni DiBuono sings one of my songs from our show The Two Svengalis; it depicts the exact moment of her transformation from a tone-deaf, insecure housewife into – well, you'll hear.
Recorded before a live audience at Uptown Chelsea Sound, September 1986. Edited and mixed by Robert Suraci. “Take Me, Please” recorded at Westrax, New York City, November 1999. “Party Girl” recorded at Hit Factory, December 1990. Bonus tracks mixed by Jeremy Harris at Westrax.
Comments from Amazon listeners:
| Fred Barton in MISS GULCH RETURNS! |
"This CD is AMAZING!! It is hysterically funny, with clever lyrics and a great delivery that toggles between funny and touching. Would highly recommend to anyone with a sense of humor and a sharp mind."
" Wickedly Brilliant! , " (5 stars out of 5), December 11, 2003 , Reviewer: "A music fan":"I'm so thrilled to see that this is on CD! I've had the original vinyl album since 1987, but the updated medium will make it so much easier to share this brilliant bit of writing and performing with all! Never has the double-entendre been used so wonderfully, and the piano prowess of Mr. Barton is awe-inspiring. I wish the sheet music for this were available! "Pour Me a Man" is the most famous, but everybody I've played it for loves "Not My Idea of a Gig" most of all! HOW can one person be so utterly clever with lyrics, sly references, and CAMP!"
" This one's worth taking! , " (5 stars out of 5), August 3, 2001, Reviewer: "lurquer": (Canada)"Master songwriter Fred Barton brings to life Almira Gulch, the snippity, crotchety, black-and-white alter-ego to the Wicked Witch of the West in The Wizard of Oz. Did you ever wonder what might have made her so bitter?
"With the skill of a musical journeyman, Barton takes a throw-away character and gives her hopes and dreams, frailties and fears, and carries you deep inside the mind of a woman on a life-long search for love.
"With brilliant parodies, haunting melodies, and a fair dash of hilarity , this album also manages to poke fun at cheating lovers, unappreciative mates, and even Dorothy herself. The song 'Pour Me a Man' is worth at least twice the cost of the album (and maybe more, since there's even a reprise on track 9!)
"Does Miss Gulch find love? I won't spoil that for you, but I can guarantee that when you hear this album, you won't be disappointed! (And the liner notes will keep you captivated for hours!)"
" Classic Comic Characterization, with a heart , " (5 stars out of 5), August 14, 2002 , Reviewer: "efrex" (New York, NY USA)
"How to begin to describe this show? Fred Barton, music directing genius, adopts the persona of perhaps the least-remembered character in The Wizard of Oz and, in a dazzling series of witty, slightly raunchy, and bitter songs and monologues, creates an event simultaneously gut-splittingly funny and heartfelt. To do either with the craft that Barton puts into his material is remarkable; to do both is fantastic.
"'Pour Me a Man' contains more double entendres than you can shake a stick at (assuming that you stop convulsing with laughter long enough to grab a stick), 'Born on a Bike' is a splendid parody of Judy Garland's 'Born in a Trunk,' and 'Not My Idea of a Gig,' the piano bar pianist's lament, contains some of the most virtuoso rhymes this side of Cole Porter.
"The comedy is not contextless, however; all this leads to the sobering 'Everyone Worth Taking,' which concludes both halves of this show and gives it a human heart so lacking in most parody artists.
" Fred Barton - Wickedly Funny! , " (5 stars out of 5), June 11, 2001, Reviewer: "Never a customer again" (Shoreline, Washington USA)
"Fred Barton (unknown to the mainstream audience) has taken his love for movies (A Star is Born, Wizard of Oz" etc.) and created a wickedly funny musical based on Almira Gulch (The Wicked Witch of the West BEFORE the cyclone) and her life pre and post Wizard of Oz. With marked inspiration from other classic movies, Barton picks up your imagination with his cyclonic humor and drops you in the middle of "Pour Me A Man"-land and leaves you laughing, commiserating but mostly wanted more. Highly recommended listening when you want 'the whole story.'"
The music that accompanies this scene is both whimsical and sinister, adding to the overall atmosphere of the film. The musical score for The Wizard of Oz was composed by Herbert Stothart, with lyrics by E.Y.
Harburg. The iconic song "Ding-Dong! The Witch Is Dead" is sung by the Munchkins after the Wicked Witch's demise, but there is no specific music dedicated to the scene with the Witch on the bike. However, the overall musical theme of the film adds to the intensity and excitement of the chase. The use of music in this scene helps to create a sense of tension and urgency. As the Wicked Witch pedals faster and faster, the tempo of the music increases, building suspense and anticipation. The choice of instruments, such as strings and percussion, adds to the sinister and dramatic feel of the scene. Overall, the scene of the Wicked Witch on the bike in The Wizard of Oz is a prime example of how music can enhance the storytelling in a film. The combination of the Witch's menacing presence, the fast-paced bike chase, and the music that accompanies it all work together to create a memorable and iconic moment in cinema history..
Reviews for "From Snarls to Songs: The Transformation of the Wicked Witch's Bike in the Wizard of Oz Musical"
1. John - 2 stars - I was really disappointed with "Wizard of oz witch on bike music". The music didn't live up to my expectations at all. I found it to be repetitive and lacking in creativity. It felt like a cheap attempt to cash in on the popularity of the "Wizard of Oz" film. I would not recommend this album to anyone who is a fan of the original music or looking for something new and refreshing.
2. Sarah - 1 star - This album was a complete waste of money. The music was grating and irritating to listen to. I couldn't even get through the entire album because it was so unpleasant. The "Wizard of oz witch on bike music" lacks any semblance of melody or harmony. I have no idea how this album made it onto the market. Save your money and avoid this musical disaster.
3. Mark - 2 stars - As a fan of the "Wizard of Oz" film, I was excited to give "Wizard of oz witch on bike music" a listen. Unfortunately, it did not meet my expectations. The music felt disjointed and out of place. It was as if the composer tried to incorporate too many different styles into one album, resulting in a lack of cohesion. While there were a few tracks that showed promise, overall, I found this album to be underwhelming and not worth the hype.