I'm going to be kickin' it old school with these next two songs straight out of the late 60s. Now, the late 60's was when rock began to evolve into this hard, raw, and exposed sound. This is mostly what we hear today in "rock" music...except this early stuff is so much better than 90 % of the popular rock music that we hear today. The first song to be discussed is by one of my favorite bands of all time, The Who, entitled "I Can See for Miles and Miles." The Who for some reason hold a very special place in my heart. I was pretty much raised on listening to the Who, so perhaps that's why I love them so much. This isn't the last time I'll be writing about them, by the way. This song is from the album "The Who Sell Out" released in 1967. I don't really remember the first time I heard this song, but to this day, it still give me chills. Anyways, here it is.
Lyrics to I Can See for Miles and Miles:
(A-Section)
I know you've deceived me, now here's a surprise
I know that you have case there's magic in my eyes
(Chorus)
I can see for miles and miles and miles and miles and miles
Oh yeah
(B-Section)
If you think that I don't know about the little tricks you've played
And never see you when deliberately you put things in my way
Well, here's a poke at you
You're gonna choke on it too
You're gonna lose that smile
Because all the while
I can see for miles and miles
I can see for miles and miles
I can see for miles and miles and miles and miles and miles
Oh yeah
(b-Section)
You took advantage of my trust in you when I was so far away
I saw you holding lots of other guys and now you've got the nerve to say
That you still want me
Well, that's as may be
But you gotta stand trial
Because all the while
I can see for miles and miles
I can see for miles and miles
I can see for miles and miles and miles and miles and miles
Oh yeah
(A- Section))
I know you've deceived me, now here's a surprise
I know that you have cause there's magic in my eyes
I can see for miles and miles and miles and miles and miles
Oh yeah
(b-Section)
The Eiffel tower and the Taj Mahal are mine to see on clear days
You thought that I would need a crystal ball to see right through the haze
Well, here's a poke at you
You're gonna choke on it too
You're gonna lose that smile
Because all the while
(Coda- Repetition of the Chorus)
I can see for miles and miles
I can see for miles and miles
I can see for miles and miles and miles and miles and miles
And miles and miles and miles and miles
I can see for miles and miles
I can see for miles and miles
I can see for miles and miles
I can see for miles and miles
This song does not waste any time from the get-go. It automatically picks up with an intense driving motive. The interesting part about this song instrumentally is that each instrument is rather independent (motivically speaking), but they work together cohesively. Though they are all in some kind of rhythmic unison, there's a sense of "organized chaos" amongst the instruments. It's important to mention the incredible technical facility of the band, most notably drummer Keith Moon. The drums are fascinating. They are SO powerful, and they are able to both disappear and explode out the texture without completely overwhelming the rest of the ensemble. Pete Townshend (guitar) is rather impressive, too. Though this isn't much of a guitar-piece (absent of solos-etc.), his ability to merely create "noise" on the guitar to compliment the drums is really cool. For example, he'll play repeated notes at a slightly lower pitch with each articulation. However, I still believe that this song is all about the drums. This is one of the things I love most about the Who: they are able to make interesting/complicated-sounding songs that are not only pleasing to listen to, but are incredibly virtuosic and exciting.
This song starts of in a minor-ish type key, but by the end, it dabbles in the major. We see a sense of this gradual move to the major near the beginning, in the middle part of the B/b-section ("well here's a poke at you, you're going to choke on it too). In terms of the song's form, it's a little complicated and rather difficult to divide up, mostly because the chorus shows up everywhere. So in this case, I divided the song into rather long sections. It's interesting, because the two occasions where the A-Section shows up, it remains intact, whereas the the B-section differs at each entrance. Also, the harmony in the B-Section (in the chorus) changes. The chorus itself is not really an individual section, except for the end where becomes repetitive coda that just ends the song.
In this song there isn't really a constant build up to a certain point. It really just starts off at this incredibly fierce tempo. The only points where there's a notable build is at each entrance of the chorus where the drums help to push the momentum forward. It is then carried on by the repeated notes in the guitar. The harmonies within the vocals are so cool because they harmonize both major and minor chords in multiple inversions. This creates this amazing, open harmony.
Even though all this technical stuff is appealing to a certain few (or hundreds, I don't know), I mostly like this song because of the way it makes you feel, or more specifically, how it makes me feel. It's such an upper/confidence builder song because it's so powerful. In terms of the lyrics, I believe it's about someone being deceived by a lover. However, this person is able to see past this deception and and see this lover for who they really are. No matter how deceiving someone may be and how much pain this deception involves, the smarter person always wins in the end. According to The Who, this clear but unpleasant portrait of someone that you once loved allows you to see for miles and miles and miles. This deception is no longer painful or valid, but liberating.
This next song I want to talk about is by my all time favorite group ever, The Beatles. Now, I don't like to play favorites with bands, but the Bealtes (like the Who) have a special place in my heart. I will go through phases of which bands I like/don't like, but these two (and a few others) will always remain constant. "Helter Skelter," from the "White Album" release in 1968, is a very interesting song because it is very unlike anything the Beatles have ever done. It's actually meant to be a reaction to the previous song "I Can See for Miles and Miles." Pete Townshend (The Who) mentioned that "I Can See for Miles and Miles" was the "loudest, and rawest" song that The Who had done up to that point. Of course, being a fierce competitor, Paul McCartney reacted by writing a song just as loud. Here it is:
Lyrics to Helter Skelter:
(A-Section)
When I get to the bottom I go back to the top of the slide
Where I stop and I turn and I go for a ride
Till I get to the bottom and I see you again
Yeah yeah yeah hey
(B-Section)
Do you, don't you want me to love you
I'm coming down fast but I'm miles above you
Tell me tell me tell me come on tell me the answer
Well you may be a lover but you ain't no dancer
(Chorus)
Now helter skelter helter skelter
Helter skelter yeah
Ooh!
(b-Section)
Will you, won't you want me to make you
I'm coming down fast but don't let me break you
Tell me tell me tell me the answer
You may be a lover but you ain't no dancer
(Chorus)
Look out helter skelter helter skelter
Helter skelter ooh
Look out, cause here she comes
(Bridge-guitar solo)
(A-Section)
When I get to the bottom I go back to the top of the slide
And I stop and I turn and I go for a ride
And I get to the bottom and I see you again
Yeah yeah yeah
(b-Section)
Well do you, don't you want me to make you
I'm coming down fast but don't let me break you
Tell me tell me tell me the answer
You may be a lover but you ain't no dancer
(Chorus)
Look out helter skelter helter skelter
Helter skelter
(Coda)
Look out helter skelter
She's coming down fast
Yes she is
Yes she is coming down fast
[My head is spinning, ooh...
Ha ha ha, ha ha ha, alright!
I got blisters on my fingers!]
Like I've said before, this song is unlike anything the Beatles have ever written. It's so incredibly heavy, but at the same time, it maintains a certain charm that the Beatles always seem to incorporate into their music. Like the previous song, it instantaneously starts out with a driving musical theme. However, the guitar is clearly the driving rhythmical force at the beginning of the song rather than the drums. There is a gradual build that is only enhanced by the vocals, bass, and drums until it finally reaches the end of the A-Section ("and I get to the bottom and I see you again"). This kind of build happens throughout the song.
As previously mentioned, I believe that the guitar has the main rhythmical precedence over the drums, which is interesting (it's usually equal, or drums over guitar). There's also a small guitar solo before the second appearance of the A-Section. The guitars are so heavy, it sounds like there's about 3 playing (which is very plausible, because J, P, and G, of course, were all proficient guitar players). The vocals are just as raw as the guitar, and you can literally hear Paul's voice begin to break from screeching. This crunchy, loud song just goes to show how much range the Beatles actually had. It's notable to mention that the "White Album" was probably the most tense Beatles album, almost breaking them up. You can hear their frustration by the end of this song and how they just loose all control. John even bitterly stated that this song was, "Paul's completely ... It has nothing to do with anything, and least of all to do with me." As you can see, this song has a very angry history.
Both the history behind this song and the lyrics are interesting. The term "Helter Skelter" is another word for a playground slide ("when I get to the bottom, I go back to the top of the slide"). Charles Manson even interpreted this song (and many others from the "White Album") as prophecies of a race war between blacks and whites. The recording session of this song was extremely chaotic (for ex. George burning an ashtray and running around with it, Ringo throwing his sticks across the room, etc.). The original cut was 27:11 long (much of that being screaming and pure noise), but they were able to cut it down to 4:37. In many ways, this song was just an emotional release from all this tension. To read more about it in detail click HERE. Even though all of this tension was a sign of things to come, it sure did culminate in an incredible song.
This was a rather long, in depth post, but both of these songs are incredibly interesting. They're both so loud and raw, and in many ways, planted the seed that was to become the future of rock.
Sunday, December 14, 2008
Friday, December 5, 2008
Songs that Make You Hurt So Good
Although I was planning on doing a 'blast from the past' 60's type post, I decided that I needed to write about songs that musically and lyrically get down to the core of one's soul. Without trying to sound super emo, I believe that there's a song out there for everyone that brings out some kind of emotion whether nostalgic, confused, happy, etc. The songs I've chosen are so beautiful, they're heartbreaking. The first song is actually a cover (which is another subject I will post about at some point). Jose Gonzalez's rendition of "Heartbeats" (off the album Veneer) might be incredibly different from the original by the Knife, but it's just as good if not better...probably one of the most beautiful/best covers out there. While the original is very rhythmic, electronic, and almost dance like, Jose Gonzalez changes the texture, making it poignant, thoughtful, and gentle. To hear the original as a point of comparison, click HERE. Anyway, here it is...please read the lyrics for this one (and the video is pretty cool too, ignore the Sony Bravia ad, though)). I'd recommend a tissue (yes, I'm being serious).
Lyrics to Heartbeats :
(A-Section)
One night to be confused
One night to speed up truth
We had a promise made
Four hands and then away
Both under influence
We had divine scent
To know what to say
Mind is a razor blade
(Chorus/B-Section)
To call for hands of above
To lean on
Wouldn't be good enough
For me, no
(a-Section)
One night of magic rush
The start a simple touch
One night to push and scream
And then relief
Ten days of perfect tunes
The colors red and blue
We had a promise made
We were in love
(Chorus/B-Section)
To call for hands of above
To lean on
Wouldn't be good enough
For me, no
To call for hands of above
To lean on
Wouldn't be good enough
(C-Section/Bridge)
And you, you knew the hands of the devil
And you, kept us awake with wolf teeth
Sharing different heartbeats
In one night
(Chorus/B-Section)
To call for hands of above
To lean on
Wouldn't be good enough
For me, no
To call for hands of above
To lean on
Wouldn't be good enough
For me, no
The intro of this song is just a simple guitar motive that literally stays the same (harmonically and melodically) the entire song, except for what I labeled the "C-Section/bridge." Although this song is so simple and there really isn't that much to analyze, it's just so beautiful. Sometimes, it's the simplest of songs that get the mark. It's just vocals and guitar, and that's all it needs. It's not very rhythmically driven like the majority of songs that I've posted, but it isn't meant to be. It just flows so well.
Even though the guitar line is repetitive, this song doesn't get boring. There's a certain build from section to section. One of my favorite parts in the song is at the end of the C-Section where there's this chordal "confusion" in the guitar which just leads back to the last statement of the chorus (B-Section). Now the C-Section deserves some explaining because it is a much needed departure from the rest of the song. The harmony and melody both change to fit this departure, but I think this section is mostly present to really set up the last statement of the chorus. The harmony kind of waivers until you really hear the V-I cadential motive into this chorus.
In terms of the lyrics...it's important to note that the Knife (who wrote the original version, remember) are Swedish and it's my belief that some of the lyrics didn't translate well (ex. "Mind is a razor blade"). I really hope that didn't sound mean. But, by keeping that in mind, this can account for its obscurity. Although, I somewhat like the obscurity because it allows for it to mean different things to different people. However you take it, I believe it's a love song (torrid lover affair gone wrong, perhaps?). Despite some of the confusing imagery in this song, it is very sweet. In many ways it makes you smile and sob at the same time.
The next song I want to share is straight out of the 1960s/70s. Now, this blog isn't just about "newer" music, but all good music. I feel that this group, Crosby, Stills, and Nash (and Young), deserve so much credit in being able to create beautiful music through their amazing use of harmony. It's truly some of the most beautiful harmony you'll ever hear. Anyways, this song is entitled ''Helplessly Hoping" from CSN(Y)'s self titled debut album in 1969. Though the lyrics are beautifully heartbreaking, the harmony only exacerbates this painful sentiment. Take a listen:
Lyrics to Helplessly Hoping:
(A-Section)
Helplessly hoping
Her harlequin hovers nearby
Awaiting a word
Gasping at glimpses
Of gentle true spirit
He runs, wishing he could fly
Only to trip at the sound of good-bye
(a-Section)
Wordlessly watching
He waits by the window
And wonders
At the empty place inside
Heartlessly helping himself to her bad dreams
He worries
Did he hear a good-bye? Or even hello?
(B-Section)
They are one person
They are two alone
They are three together
They are for each other
(a-Section)
Stand by the stairway
You'll see something
Certain to tell you confusion has its cost
Love isn't lying
It's loose in a lady who lingers
Saying she is lost
And choking on hello
(B-Section)
They are one person
They are two alone
They are three together
They are for each other
Like the previous song "Heartbeats," this song remains so simple: all it is are vocals and guitar. Nothing rhythmic about it. This just goes to show that even the most simplest of songs can create the most power and meaning. As I've said before, the most beautiful thing about this song other than the lyrics is the harmony in the vocals. It's like velvet. Their voices just mesh so well and the intonation (disregarding studio techniques) is so in tune, it's heavenly. It also ends, just the way it begins: with a lovely strumming guitar.
What's interesting about this song is that it doesn't really have a main chorus. The B-Section, which is usually the chorus in rock music (or in this case folk), is really more of a bridge to the next section, or a concluding statement (the B-Section is the last thing stated in the song). This plays very well throughout. Also, the B-Section is the only place within the song that has a real diatonic center. Though the previous sections are very tonal, I would say that they're much more modal in terms of an established key.
The lyrics in this song are not meant to be over looked. Obviously it involves some kind of "love hurts" sentiment, but the lyrics just flow so well and offer a very poignant view on lover's pain. They're so honest because everyone at one time or another has these feelings of confusion, loss, love and desperation. I'm not a poetry expert, but the lines like "choking on hello," and "helplessly hoping her harlequin hovers nearby," are just so melodious and clever to not only listen to, but to say. These lyrics could stand alone as a simple poem, but the it's the lyrics added with the harmony melody that truly makes this song come alive.
Anyways, that's all for now. I expect all of you to be crying tears of heartbreak/joy after listening to these gems.
Lyrics to Heartbeats :
(A-Section)
One night to be confused
One night to speed up truth
We had a promise made
Four hands and then away
Both under influence
We had divine scent
To know what to say
Mind is a razor blade
(Chorus/B-Section)
To call for hands of above
To lean on
Wouldn't be good enough
For me, no
(a-Section)
One night of magic rush
The start a simple touch
One night to push and scream
And then relief
Ten days of perfect tunes
The colors red and blue
We had a promise made
We were in love
(Chorus/B-Section)
To call for hands of above
To lean on
Wouldn't be good enough
For me, no
To call for hands of above
To lean on
Wouldn't be good enough
(C-Section/Bridge)
And you, you knew the hands of the devil
And you, kept us awake with wolf teeth
Sharing different heartbeats
In one night
(Chorus/B-Section)
To call for hands of above
To lean on
Wouldn't be good enough
For me, no
To call for hands of above
To lean on
Wouldn't be good enough
For me, no
The intro of this song is just a simple guitar motive that literally stays the same (harmonically and melodically) the entire song, except for what I labeled the "C-Section/bridge." Although this song is so simple and there really isn't that much to analyze, it's just so beautiful. Sometimes, it's the simplest of songs that get the mark. It's just vocals and guitar, and that's all it needs. It's not very rhythmically driven like the majority of songs that I've posted, but it isn't meant to be. It just flows so well.
Even though the guitar line is repetitive, this song doesn't get boring. There's a certain build from section to section. One of my favorite parts in the song is at the end of the C-Section where there's this chordal "confusion" in the guitar which just leads back to the last statement of the chorus (B-Section). Now the C-Section deserves some explaining because it is a much needed departure from the rest of the song. The harmony and melody both change to fit this departure, but I think this section is mostly present to really set up the last statement of the chorus. The harmony kind of waivers until you really hear the V-I cadential motive into this chorus.
In terms of the lyrics...it's important to note that the Knife (who wrote the original version, remember) are Swedish and it's my belief that some of the lyrics didn't translate well (ex. "Mind is a razor blade"). I really hope that didn't sound mean. But, by keeping that in mind, this can account for its obscurity. Although, I somewhat like the obscurity because it allows for it to mean different things to different people. However you take it, I believe it's a love song (torrid lover affair gone wrong, perhaps?). Despite some of the confusing imagery in this song, it is very sweet. In many ways it makes you smile and sob at the same time.
The next song I want to share is straight out of the 1960s/70s. Now, this blog isn't just about "newer" music, but all good music. I feel that this group, Crosby, Stills, and Nash (and Young), deserve so much credit in being able to create beautiful music through their amazing use of harmony. It's truly some of the most beautiful harmony you'll ever hear. Anyways, this song is entitled ''Helplessly Hoping" from CSN(Y)'s self titled debut album in 1969. Though the lyrics are beautifully heartbreaking, the harmony only exacerbates this painful sentiment. Take a listen:
Lyrics to Helplessly Hoping:
(A-Section)
Helplessly hoping
Her harlequin hovers nearby
Awaiting a word
Gasping at glimpses
Of gentle true spirit
He runs, wishing he could fly
Only to trip at the sound of good-bye
(a-Section)
Wordlessly watching
He waits by the window
And wonders
At the empty place inside
Heartlessly helping himself to her bad dreams
He worries
Did he hear a good-bye? Or even hello?
(B-Section)
They are one person
They are two alone
They are three together
They are for each other
(a-Section)
Stand by the stairway
You'll see something
Certain to tell you confusion has its cost
Love isn't lying
It's loose in a lady who lingers
Saying she is lost
And choking on hello
(B-Section)
They are one person
They are two alone
They are three together
They are for each other
Like the previous song "Heartbeats," this song remains so simple: all it is are vocals and guitar. Nothing rhythmic about it. This just goes to show that even the most simplest of songs can create the most power and meaning. As I've said before, the most beautiful thing about this song other than the lyrics is the harmony in the vocals. It's like velvet. Their voices just mesh so well and the intonation (disregarding studio techniques) is so in tune, it's heavenly. It also ends, just the way it begins: with a lovely strumming guitar.
What's interesting about this song is that it doesn't really have a main chorus. The B-Section, which is usually the chorus in rock music (or in this case folk), is really more of a bridge to the next section, or a concluding statement (the B-Section is the last thing stated in the song). This plays very well throughout. Also, the B-Section is the only place within the song that has a real diatonic center. Though the previous sections are very tonal, I would say that they're much more modal in terms of an established key.
The lyrics in this song are not meant to be over looked. Obviously it involves some kind of "love hurts" sentiment, but the lyrics just flow so well and offer a very poignant view on lover's pain. They're so honest because everyone at one time or another has these feelings of confusion, loss, love and desperation. I'm not a poetry expert, but the lines like "choking on hello," and "helplessly hoping her harlequin hovers nearby," are just so melodious and clever to not only listen to, but to say. These lyrics could stand alone as a simple poem, but the it's the lyrics added with the harmony melody that truly makes this song come alive.
Anyways, that's all for now. I expect all of you to be crying tears of heartbreak/joy after listening to these gems.
Subscribe to:
Posts (Atom)
