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Post by duckbarman on Dec 22, 2015 17:35:42 GMT
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Post by agent on Dec 22, 2015 23:15:53 GMT
Don't Fear The Güiro Love This! |
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Post by bil on Dec 22, 2015 23:50:46 GMT
Needs more Guiro...  |
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Post by pdiddy on Dec 23, 2015 2:00:48 GMT
Cool beans! For the record I think the bridge is as brilliant as the rest of the song too. The way the arpeggiation slips a note every couple measures, the minor to major bass line, the way the drums push and release, the guitar solo that crests after a couple measures then slowly descends in anguish till its finally subdued back into the main riff. Good stuff!
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Post by markus on Dec 25, 2015 4:31:50 GMT
Any kind of publicity...you know the rest.
As far as 'dissecting' the song, I would call it more of an overview of the major sections, especially considering they didn't even tackle the bridge.
A couple of quick observations on what they covered, what they missed, and some miscellaneous points -
The drumming really isn't all that simple; Al's driving consistency and the alternating subtle push-pull between the sections using the ride cymbal and the hi-hat is outstanding (not to mention that neat little change when he switches to the ride cymbal).
Joe's bass sounds like it's being recorded direct; any time the bass is recorded direct it sounds a bit lumpy or slippery as they called it, to play it with the consistency that Joe did is not a simple thing.
Pretty sure Allen is using a clavinet (like on Lonely Teardrops), not a harpsichord which has a much more frail/dainty sound; another notable (but not obvious) thing Allen does on the Hammond is alternating the Leslie (rotary speaker) speed at different points, it adds breath and breadth.
The drone on the guitar(s) they're talking about is not a drone per se, which implies pedal point, i.e. a single, consistent bass note under the chord changes. What the chordal motif does is inverted pedal point, which is a single note ringing within the chord changes, in this case it's the ringing G within the popular Am G F arpeggio sequence (another example of this would be the Beatles' Blackbird).
The heavy (but good, classic Lexicon perhaps?) reverb on DFTR would carry through to Spectres where it seemed that every song was swimming in reverb (especially Joe's songs, I guess Morning Final as well now that I think about it).
Quick note on the bridge and why it's its own creature within the song - the pedal point (with the opening sequence) subtly create an implied pedal/inverted pedal point to F, and the big sequence is jarring because when it hits that A-flat note over the Fm sequence (F, G, A-Flat, G, then F) the listener has heard nothing but the chord sequence go up to A up 'til then, same thing over the G7 sequence when it goes to A-flat then back to G; there's that subconscious tension of waiting for the resolution (back to A) which it does when the EBow/riff kicks in. The bridge solo changes texture from the rest of the song as well as it veers into a middle eastern/minor 6 feel (again, more tension created from the departure from the traditional rock-minor feel).
Wish I would've paid more attention in music theory class; Ok, enough anorak nonsense...back to putting together the grand-daughter's Christmas presents.
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