Van Morrison’s “Moondance”

Cover of Van Morrison's album "Moondance"

This week,I’ve been listening to Van Morrison’s third solo album “Moondance” from 1970. Though I’ve heard his songs on occasion my whole life, my real introduction to him came about two years ago. I spent a week with his second solo album “Astral Weeks” as part of this great albums project. That album did not appeal toe me at first. By the end of that week, I stil did not care for it much, but within a year it became one of my absolute favorite albums. My son got me a vinyl copy of the album for Christmas, and I purchased the Record Store Day release of outtakes. My guitar practice time often involves playing a “Madame George.

I’ve been looking forward to listening to another album of Morrison’s work. This absolutely did not disappoint. This album is more immediately accessible than “Astral Weeks.” That tracks on that previous album can feel like they go on too long, as the performance venture off into a mildly evolving folk jazz. The performances on “Moondance,” while incorporating some jazz-influence, lean more towards folk rock and have more tight composition of pop songs.

Caravan

The third track “Caravan” immediately caught my attention. I really like the “turn it up.. turn it up” section that ends each chorus. The key there is the rhythm. The band hits twice and rests while Morrison sings emphasizing the next two beats. It’s a back and forth call-and-response, with the accompaniment leading. This rhythmically engaging exchange utilizes repetition which encourages the listener to participate. This hook brought me into the song immediately and it is the first thing I talk about here. That’s the sign of a good hook!

The verses start with two runs through the 50s Progression (I-vi-IV-V). This is followed by two runs through a descending chord progression of IV-iii-ii-I. This is played with jaunty boom-boom-bop-rest rhythm that anticipates the post-chorus. Drums, bass, piano, and acoustic guitar provide the majority of accompaniment through the song. Then the band rises into a mildy celebratory la-la-la section following I-V-I-V-iii-ii-I. This again is a common chord progression, a basic two chord I-V.. followed by a descending run through minor chords.

The lyrics present three main themes intermingling in reverie. First, a gypsy caravan spent the night near the speaker’s home when they were young. Second is the speaker’s current relationship with “sweet lady.” Third, these are tied together by songs playing on the radio. The childhood evening of listening to the songs and stories of the caravan revealed something to the young man that he feels benefit in making the current setting resemble that one. As a child, he saw the girl on the caravan playing with the radio and today, he asks his lady to turn on and up the radio. Likewise, as they sat around the campfire then, he asks the lady today to turn on the electric light.

turn up your radio
and let me hear the song
switch on your electric light
then we can get down to what is really wrong
I long to hold you tight
so I can feel you
sweet lady of the night,
I shall reveal you
(If you will) turn it up, turn it up, little bit higher; radio
turn it up, turn it up, so you know; radio

Brand New Day

The slower soulful track “Brand New Day” sits in the middle of side two on “Moondance.” Morrison told he heard a song by The Band on the radio. He was feeling frustrated and down and was inspired to write a song of hope. The imagery and lyrics are poetic, well-written, yet straight forward. He sees the sun come up in the morning, and realizes that this brand new day offers a change. The night is in the past.

Drums, bass, and piano start the song off and vocals start at just after 1 second. A clean electric guitar in the right channel balances the acoustic piano in the left channel. These two instruments play dancing arpeggios and gentle melodic lines, suggesting the chord progression. Morrison’s acoustic rhythm guitar is barely audible in the center. The bass guitar, also center channel, gives us the most straight forward hint of the chords: I-vii-vi-vi-IV-V-I-V for the chorus.

That’s a descending set minor chords for the first bar followed by a promising IV-V major chords, offering a strong cadence. The chorus is a solid cadence-rich chord progression of I-V-i-IV. It has a solid foundation on the tonic, making it a perfect match for the hopeful strengthening feeling in the lyrics: “It seems like… It feels like.. a brand new day.”

The lyrics of the verses consist of two quatrains, each following a ABCB rhyme scheme. However, with the delivery and internal rhyming, we could also see the verses as a pair of six lines each, following a AABCCB rhyme scheme. These lyrics give something of an “Amazing Grace” tale, with the sun and the promise of a new day being the grace. The three verses progress through speaker’s change in feeling. At first, they see the sun come in and see the promise; next, we get a description of how they were feeling before and after without any real detail; and finally, it’s all pleasant warmth.

And the sun shines down
All on the ground
Yeah and the grass is oh so green
And my heart is still
And I’ve got the will
And I don’t really feel so mean
Here it comes, here it comes
Here it comes right now
Till it comes right in on time
Well it eases me
And it pleases me
And it satisfies my mind

Into the Mystic

One of the best songs I’ve heard by Van Morrison, “Into the Mystic” closes the first side of the record. It starts with just the acoustic rhythm guitar that remind me of the previous album, “Astral Weeks.” He adds to it a rhythm slap of the palm muting the strings just as they are quickly strummed. Bass and nylon guitar quietly join in. The bass plays a moving groove, with nylon guitar gently plays lead lines between Morrison’s vocal lines. With the second part of the chorus, a piano joins and the acoustic guitar picks up in energy. After the chorus, some majestic, but simple, horns bring up the mood. They fall back, letting the vocals return to repeat the chorus. Then the horns again. The song builds up in energy and mood this way.

Lyrically, the song presents its own statement of purpose: “I want to rock your gypsy soul, just like way back in the days of old, and together we will float into the mystic.” The verses tie this mission statement to age-old romantic tales of voyages across the sea. And these are the visuals upon which Morrison hopes his song can take us. At the same time, the declaration is that of erotic love. The speaker in the song will be returning from a sea voyage, and when he does, they will make love and “float into the mystic.”

The words are made up of only a single verse, followed by a two-part chorus that he sings twice; and then as the song comes to close “to late to stop now…” The lines of the verse have a AABCCB rhyme scheme. However, in the middle of the third and sixth line, the ending rhyme of the previous two lines appears. He also makes use of alliteration with two words starting with the same consonant: “bonnie boat” and “soul and spirit.”

We were born before the wind
Also younger than the sun
Ere the bonnie boat was won as we sailed into the mystic
Hark, now hear the sailors cry
Smell the sea and feel the sky
Let your soul and spirit fly into the mystic

Oasis’s “(What’s the Story) Morning Glory?”

Cover of Morning Glory by Oasis

This week, I’ve been listening to Oasis’s second album “(What’s the Story) Morning Glory?” from 1995. I graduated from high school in Ohio while Oasis were in the studio recording these tracks. The CD hit records stores only four months later, in October. In the United States, we were almost completely unaware of Oasis, having missed their first album. Some of us may’ve caught the video for “Morning Glory” on late night MTV that winter. And then the single “Wonderwall” was released. By the spring of 1996, “Wonderwall” seemed to be everywhere. Soon after, we also fell in love with “Champagne Supernova.” I bought the CD by the end of April, and these songs were a major part of my 1996 soundtrack.

All of this tremendous music was hitting our ears, along with stories of the sibling band members, Noel and Liam Gallagher. There were stories of rock n’ roll drug use, fighting between brothers, and public cocky braggadocio. The press made a big deal out of their claims they were going to be bigger than The Beatles, which seems a bit of a turn on Lennon’s claim about the Beatles vs. Jesus. Noel was full of great lines for the press like, “We’re not arrogant, we just believe we’re the best band in the world.” He also pointed out that if you say something enough times, a lot of people are going to start believing it.

Wonderwall

The third track “Wonderwall,” proved to be Oasis’s biggest hit and most lasting song. They obviously knew they had something with it, as the first track “Hello” starts with a tease of the “Wonderwall” riff. Originally the song was named “Wishing Well,” but was changed to a reference to George Harrison’s first song album “Wonderwall Music“. This song received a lot of play in 1996. In most cases, this would burn me out on a song, but “Wonderwall” is just tremendously good. The feeling comes across as hopeful in contrast to the slower tempo and minor key.

The verses follow a i-III-VIIsus4-IVsus4 chord progression. The highest two notes on the acoustic rhythm guitar remain the same throughout. The rest of the guitar strings are playing a more simple i-III-VII-iv progression, but those suspended fourths (and the raising of the minor iv to a major IV) happen by virtue of those high strings. This plus the strumming pattern (not too unlike “Smells Like Teen Spirit” and Radiohead’s “Just“) make the rhythm guitar immediately distinctive. And I’ve always loved how the drums come in half a measure after the second verse starts. That’s brilliant, and derived from the style of Ringo Starr.

The obtuse lyrics relay the feeling of things going badly, but having a relationship with somebody who could turn things around. The verses consist of four lines followed by a two line refrain. The first four follow a ABCB rhyme scheme, and sometimes the second line rhymes with the final line of the refrain. Every verse ends with “I don’t believe that anybody feels the way I do about you now.” This refrain expresses directly and beautifully something that many of us have felt at one time or another. Surely, accomplishing that is one of the keys of great songwriting. If you write a great line like that and it holds up to repetition, why not make it a refrain?

Today is gonna be the day
That they’re gonna throw it back to you
By now you should’ve somehow
Realized what you gotta do
I don’t believe that anybody
Feels the way I do about you now

Some Might Say

“Some Might Say” kicks off the second half of the album with some T-Rex inspired overdriven guitar. Oasis slam this electric Bolan riff into a wall of bright 90s guitar rock. Tony McCarroll’s drums stomp and smash, with cymbals crashing on the second and fourth beat throughout the chorus and much of the song. Bass guitar rolls along supporting the bottom end without competing with the guitars. Layers of distorted guitar creating a harmonic rich rock haze while the echo drenched vocals deliver the anthemic melody. There’s no denying the Beatles influence, in fact Noel Gallagher constantly did the opposite, perhaps overstating it, but with all the 90s noise here, the melody is rather Paul McCartney.

Champagne Supernova

“Champagne Supernova” stands as one of the greatest album closers of all time. It starts with water sound effects, joined by long notes played on a melodica by guitarist Paul “Bonehead” Arthurs. Single notes played on guitar ring out like bells. An acoustic guitar gently strums an Asus chords with a descending bass note: A-G-F#-E. Another epic anthem, “Champagne Supernova” has an overall wistful feel fought by hopeful rises for the chorus. It’s a disconnected sort of sad longing, a desire for something more without really caring so much.

Each verse consists of two sets of three lines: a couplet followed by a single line refrain. So we end up with a rhyme scheme of AAB CCB. With the one exception, the refrain is always the question, “Where were you while we were getting high?” Its not clear who is better off. Is the speaker missing the absent other, or are they wondering what better thing they could be doing? Because, this hanging out getting high with the promise of being caught beneath landslides doesn’t seem like a good time.

How many special people change?
How many lives are living strange?
Where were you while we were getting high?
Slowly walking down the hall
Faster than a cannonball
Where were you while we were getting high?

I would personally consider this the best song on the album, with “Wonderwall” being a close second. It takes the listener on a journey, with rising chorus, soaring psychedelic rock solos, swirling reverb, dancing drums. The ambivalent emotion comes across perfectly, some could hear desperation, sadness, longing, triumph, listlessness, hope, aspiration. A wide range. Noel Gallagher is a master of writing well-formed ambiguous obtuse lyrics that present first with style and later develop meaning through absorption. He creates that which is relatable through allusion and illusion.

Iggy and the Stooges’ “Raw Power”

Cover of The Stooges' album "Raw Power"

This week, I have been listening to Iggy and the Stooges’ third album “Raw Power” from 1973. I received my introduction to the Stooges six months ago with their second album “Fun House.” I loved them then, and I loved this album two. At the point of writing and recording this album, The Stooges were officially broken up with alcohol and drug problems. Pop started “Raw Power” as a solo album, but ultimately enlisted former Stooges drummer Scott Asheton and bassist Ron Asheton. They are joined by guitarist James Williamson.

There are three mixes out there, the original release mixed by David Bowie, a 1997 release mixed by Iggy Pop, and a 2012 Record Store Day remaster of the Iggy Pop mix. My copy of the album is the CD version from 1997. Everything sounds more present, despite being compressed violently. It is loud. Mostly he’s pulled back the guitar a little while pushing forward the bass and vocals. Raw power by Iggy and the Stooges. You can feel the equipment is in pain from having such rock n roll pushed through it at such high levels. From what I’ve heard of the Bowie mixes, I agree they are thin, but I also feel the Pop mix is too hot. It’s as if he created a better mix, and then pushed the master level up all the way.

Search and Destroy

The Stooges jump right into the album with rocker “Search and Destroy.” The song kicks off with drums, bass and fuzz guitar. Already loud. After a couple opening bars, Pop sings “I’m a street walking cheetah with a heart full of napalm…” The band provided tremendous influence on rock n roll music, especially punk rock of the late 70s and beyond. This song certainly left a mark. To list all of the bands that have covered “Search and Destroy” would be ridiculous. Some noteworthy covers include the Sex Pistols, the Red Hot Chili Peppers, EMF, Skunk Anansie, and Def Leppard. An interesting thing to note about these covers is how faithful they are to the original. These bands admire more than the songwriting, the sound and attitude of the Stooges excites.

Gimme Danger

As if to prove immediately that they have variety, the second song opens with picked acoustic guitar in the left channel. Bass guitar and drums join in the center, with some sort of melodic percussion instrument in the right channel. Pop’s sings with his naturally course voice a slower melody. He takes on some of The Doors‘ singer Jim Morrison’s swagger as he takes the listener on a trip into the darkness. The lyrics take on some of Morrison’s style: “Say, gotta gimme danger, wild little stranger. Honey, gonna feel my hand; Swear, you gonna feel my hand!”

Penetration

A celeste plays a pretty ascending line of notes in the Stooges’ track “Penetration.” It provides a balance by contrast to the menacing fuzz guitar and Pop’s growling and hissingly wicked vocals. The guitar is primarily a repeated muted monophonic riffs on the E minor chord. This constant repeated riff with no real chord progression feels like unresolved constant travelling on a nightmare ride.

He drives these short lines like an empty narrative list of regrets or confession. It’s not clear, but it’s not pleasant.

Every night at town
Every night at town
I’m going now
Going now
I pulsate
Purify me
Purify me
Take a lay
Take away
Paralyze
Penetration

Blondie’s “Parallel Lines”

Album Cover for Blondie's Parallel Lines

This week, I’ve been listening to Blondie’s third album “Parallel Lines” from 1978. I remember this record being among my parents’ collection, though the only songs I heard were “One Way or Another” and “Heart of Glass.” Singer Debbie Harry and guitarist Chris Stein founded Blondie in 1974, after working together as former members of pre-Punk band The Stilettos. A few years later, they released their debut album and the new-wave single “X-Offender.” Blondie came out of the NYC art-rock scene of the early 1970s to become an important part of the new wave movement of the late 70s/early 80s. In New York City, these were bands descended from the Velvet Underground, Patti Smith, and Television. The new wave had many of the same influences as punk rock, but took a different stylistic approach.

Picture This

Blondie released the third track, “Picture This,” as a single in the UK where it hit the top 20 charts. Like much of the album, this great track beautifully combines early 1960s pop musicality with 1970s art-rock sound and a touch of punk attitude. Much of the Blondie sound comes from the use of non-distorted electric guitar with the recently invented chorus pedal, dry punchy drums, and rolling clean bass. Of course, Harry’s cool vocals front the band, truly making it Blondie.

The verses follow a I-IV pattern repeated three times, but then finish differently each time depending on what they are leading into. The first verse completes with an unusual V#-I, pulling into the second verse which ends with a more normal I-V, and then the third just continues a I chord. These are played with picked arpeggios on the chorus guitar in one channel. A clean electric guitar strums each chord once at the beginning of each bar and plays a leading arpeggio during third beat of each measure. The bass walks us up and down each bar from one chord to the next.

The choruses rise up to a IV-V-IV-V progression. This progression along with the intensified vocals and organ, give the chorus excitement through the tension of an unresolved progression begging for cadence. The IV-V-IV-V leads into a extended VI chord, which brings even more tension. The post-chorus then repeats II-VI-II-VI, which threatens to never resolve. Then the next verse starts off with the tonic chord again, returning to the more comfortable I-IV pattern. The song however, does NOT end with the tonic, but just drops the listener off the cliff on that post-chorus pattern.

The lyrics play with the sense of sight, focusing on words and metaphors involving viewing, watching, seeing, and picturing things. Most of the three-line verses follow either an AAA rhyme scheme, or an AAB rhyme with the last line ending with the word “you.” The first and third lines of each verse always begin with the same four words, usually, “All I want is…” except the second verse, which has “I will give you…” The first line makes a statement of either wanting or giving something, the second line gives further meaning to the first, then the third repeats the statement.

All I want is a room with a view
A sight worth seeing, a vision of you
All I want is a room with view
I will give you my finest hour
The one I spent watching you shower
I will give you my finest hour
All I want is a photo in my wallet
A small remembrance of something more solid
All I want is a picture of you

Fade Away and Radiate

On the fourth track, “Fade Away and Radiate,” Blondie delivers and haunting new-wave Television style epic. The slower tempo, beating tom drums that open the song, the soaring guitar effects, the restrained vocals, all lend to the sense of something bigger. There’s not really a chorus, though we do have a bridge and an up-beat coda. This lack of a chorus, in this case, adds to the sense of a warning or story-telling coming in phases.

In the verses, we have a i-IV-I-vi-ii-I-ii-I. Though the song is in a major key, each verse opens with the tonic in minor. It’s an odd choice that contributes to the eerie mood. The bridge stomps down through a ii-Isus2-ii-vi pattern, suggesting some sort of threatening opera. Then with the coda,the tempo gets picked up with reggae-inspired rhythm. This reminds me of how the Lou Reed and the Velvet Underground would sometimes end song with a Latin-inspired rhythm.

Heart of Glass

We certainly cannot ignore Blondie’s massive hit “Heart of Glass.” On this track, the band takes a decidedly disco turn. The band wrote the song in 1975 after hearing the Hues Corporation’s song “Rock the Boat.” Blondie recorded a version under the title “Once I Had a Love,” but were not quite happy with it. They had long referred to it as “The Disco Song” and on the album “Parallel Lines,” they decided to perform it in the disco style.

I don’t know what discussions they had about this, but the decision is a bigger one than might seem today. Blondie were considered part of the NYC punk rock scene, despite their already cleaner sound. To many punks, punk rock music represented a sincere pure-attitude return to rock ‘n’ roll, rejecting what they perceived as soulless nature of disco and corporate rock. For Blondie, a member of the punk family, to record a pop radio friendly disco song struck many as betrayal. Let’s not forget that Harry and Stein were once in a band performing a song called “Anti-Disco.”

So, what makes this song “disco”? Let’s start with the clear four-on-the-floor drum pattern. This means the kick drum hits on every beat, the snare drum hits on every third and fourth beat, the hit-hat strings the beat together hitting on every eight note, opening on the upbeat. The clean bass provides syncopated rhythms, bopping along with octave hops. We have string-like organs lines providing swirling pads. Soften male vocals provide “la la la” backing vocal. Harry delivers ‘ooo-ah’ vocals that soar like Donna Summer. The clean electric guitar shuffles through funk strumming patterns. It’s bright, clean, poppy, it encourages dancing in colorful clubs.

The verses repeat a I-vi chord progression. This breaks from punks conservatively I-IV-V based patterns. The chorus breaks away from I-vi to follow a IV-IV-I-I-IV-II-V-I pattern. Interestingly, the chorus is NOT where we find either titles of the song, those appear in the verses. The chorus has an AABB rhyme scheme. Within the lines, there some use of assonance that ties them together: “between/pleasing/peace/teasing”, “find/fine”, “confusing/losing”, “just/good.” These are well-crafted lyrics for sound.

In between what I find is pleasing and I’m feeling fine
Love is so confusing, there’s no peace of mind
If I fear I’m losing you
It’s just no good, you teasing like you do

The Wailers’ “Catch a Fire”

Cover of The Wailer's album "Catch a Fire"

This week, I’ve been listening to Bob Marley and the Wailers’ fifth album “Catch a Fire” from 1973. Caribbean music was only just starting to get noticed by the rest of world. This great album combined with an international tour, drove the band and reggae into world-wide fame.

The closest thing to reggae we listened to in my house growing up was Eddy Grant’s Electric Avenue.” In my late teens, I actually gave some reggae a listen. I was intrigued by the heavy use of syncopation. Attempts to emulate the strumming patterns on guitar challenged me. It wouldn’t be until my mid-twenties that my girlfriend’s music collection gave me a decent introduction to the music of Bob Marley and the Wailers. I came to appreciate his music and stop simply associating it with hippies and stoners. This was real, passionate and sincere music with immediate socio-political concerns. There was more rebellion here than just some smoke.

Concrete Jungle

The Wailers open the album with “Concrete Jungle.” Marley sings about Moving from Jamaica to an American city to find the big city life to just as oppressive, only in a different way. While the song definitely reggae, there’s something about the sound and rhythms that also remind me of Stevie Wonder’s funk. This could be an intentional incorporation of the music of American cities, or perhaps just a cross-pollination of genres in the early 1970s.

The song follows a I-I-vi-IV chord progression for the verses and the chorus, with a I-IV pre-chorus. The rhythms are particularly interesting to me. The way guitar is used is one of the defining features of the genre. The guitar is firmly a member of the rhythm section. Short syncopated percussive claps of guitar chords emphasize the upbeat. A quick stroke of the pick hits these strings and they are immediately muted preventing the chords from ringing out. The Wailers will often use two electric guitars.. on that plays on the eight-note upbeat and the other adding an additional hop by playing an adjacent sixteenth note.

The bass guitar rests a lot more than we often hear in rock and pop music. There will be a deep bass note on the first beat of the measure, with a waking melodic groove until the third beat and then rest. While in most of the music I listen to will have the kick drum emphasize the first and third beat of each measure, that is not the case here. There is still often a snare or timbale on the second and fourth beat, but not always.

Stir It Up

Probably my favorite song on the album is the mellow “Stir It Up.” The Wailers released this song as a single in 1967. A cover of the song by Johnny Nash had found success internationally in 1972, leading to The Wailers joining him on an international tour. For this album, they re-recorded the track. The “Catch a Fire” version starts with an up-beat double-sixteenth chop pattern. A Moog synth provides a deliciously modulated pad that provides the memorable sound of the track.

The song follows a basic I-I-IV-V chord progression throughout. The muted electric guitar keeps the syncopated rhythm pattern. A Clavinet supports the guitar with its equally percussive chops. A percussive bass groove hits the first and second beat then rolls through rest of the bars rising. During the verses, the bass takes more rests, hitting that first beat still, providing a restrained lower end. And while all of this might seem like it’d be chaotic in description, its actually very smooth and relaxing.

Overall, I was disappointed when I started with this album, because I was hoping for songs like “Redemption Song.” Now, I see that that is from a much later album. However, after a week, many of these songs grew on me. They have strong melodies and accompaniment. There are hooks throughout that I found myself singing throughout the day when not listening to the album.

Captain Beefheart and his Magic Band’s “Trout Mask Replica”

Album cover for Trout Mask Replica

This week, I’ve been listening to Captain Beefheart and his Magic Band’s double-LP “Trout Mask Replica” from 1969. This album challenges the listener’s sensibilities and understanding of musical conventions. From the start of the first track, “Frownland,” the first-time listener will question the judgement of those who consider this to be one of the greatest albums of all time. My first encounter with this album came from a girlfriend when I was in my early twenties. It was awful and offensive. Either I was an idiot or she was putting one over one me. I gave it a couple more tries and gave up. So here I am, two decades later, devoting time to it because it is a great album. Do I love it now? No, but I do appreciate it and even enjoy parts of it in doses.

The verb “experiment” means to try something for the purpose of discovery. This generally implies doing something in some way different from what one normally does. The outcome is unknown. A question beginning with “What would happen if…” prompts an experiment. Then depending on the outcome, you might alter the act for future experiments. As the outcome becomes less unknown, the act becomes less of an experiment and more of a practice. This album is the result of experiments with breaking the conventions of rock music. Living together in California, Don Van Vliet (aka Captain Beefheart) ruthlessly led his band of musicians like a cult leader. His methods challenged the established rules of rock as well the ethics of management. That’s another topic though.

Dachau Blues

The third track “Dachau Blues” grabbed my interest first. Yes, the song does follow some blues structure, but it’d be a stretch to call it a blues song. Beefheart’s vocals stand out in front, with the band mixed relatively low. The guitars and dry drums create a near chaotic background for the anti-war lyrics. They choose the location of Nazi concentration camp from World War II to tell how frightened children look up to the adults to not repeat the horrors of war.

The song demonstrates little relationship between accompaniment and vocals. Even though the guitars start with a jagged rhythm for the first chorus, they seem to dissolve into apparently improvised melodic riffs. The percussion and guitars fall in and out of rhythm with each other. Then a saxophone screams in competition with the spoken lyrics. There’s a mixture of intention and accident throughout the album. These glimpses into the process remind us of the importance of the process. I’m also reminded of the Beatnik notion that the unedited thought is more pure and loses something through revision. Yet, we know that Captain Beefheart and his magic band practiced and practiced these songs. The loose chaos didn’t come easy.

Pachuco Cadaver

Before the music starts, the Captain shares some nonsensical wisdom: “A squid eating dough in a polyethylene bag is fast and bulbous, got me?” There’s some underlying logical to the nonsense written by Captain Beefheart, perhaps. He has a great taste for the vocabulary of unusual, using these words to paint a surreal story world. Elements of this world are returned to throughout the album, feeling more like consistency than repetition. The lyrics of “Pachuco Cadaver” present the vignette of an attractive Latina-American woman, like a bizarre version of The Doors’ “Hello, I Love You.

“Pachuco Cadaver” stands out on the album as being one of the few songs with a stand-out guitar riff that repeats in different parts of the song. The accompaniment even builds up to it as it evolves out of a primordial groove. At times, it is hinted at, muted, then devolves into arhythmic strumming. Then it appears, nearly rocking, as the Captains says, “her lovin’ makes me so happy…”

When she walks, flowers surround her
Let their nectar come in to the air around her
She loves her love sticks out like stars
Her lovin’ stick out like stars

Primal Scream’s “Screamadelica”

Album cover for Screamadelica

This week, I’ve been listening to Primal Scream’s third album “Screamadelica” from 1991. At the end of the 80s, critics speculated that grebo-baggy music were going to be the sound of the 90s. These genres found new energy in combining psychedelic alternative rock with dance rhythms of acid house. British bands like EMF, Jesus Jones, and the Escape Club brought these sounds to American MTV. This was right before Nirvana’sSmell Like Teen Spirit” grabbed everybody’s attention and changed things. While I liked some of it, grunge didn’t really catch me as hard as it did others. Had I heard “Screamadelica” when it came out, I probably would’ve loved it. I had the same difficulty with it now that I have with the band Muse, several of the songs sound like direct combinations of two or three other songs. More derivative than inspired.

Movin’ On Up

So, that brings us to the opening track “Movin’ On Up.” It’s a good song on its own; However, to me it sounds like The Rolling Stone’sSympathy for the Devil” played like The Who’s “Magic Bus” after listening to George Michael’s “Faith.” The first verse opens with “I was blind, now I can see, you made a believer out of me.” This verse makes an allusion to “Amazing Grace,” where the chorus’s “I’m movin’ on up now, getting out of the darkness; My light shines on.” recalls both The Rolling Stones’ “Shine a Light” and the gospel anthem “This Little Light of Mine.” Screamadelica decidely wrote a rock n roll gospel anthem. I’m not sure what they’re believing in: perhaps it’s rock n roll and perhaps it was ecstasy.

The verses follow a I-I-I-I-V-IV-I-I chord progression, over which lay a gospel-blues melody. A female choir joins for the chorus, with a V-V-IV-IV-ii-IV-I-I progression. This jump up to the fifth for the chorus provides the feel of a key change without actually entering one. In addition to the Who-Stones inspired acoustic guitar riff, piano and choir support the gospel feel of the recording. Then an electric guitar provides an excellent solo that sounds more than a little like the solo in Sympathy for the Devil without the danger and edge.

Primal Scream’s love of The Rolling Stones stands out through much of the album. I definitely cannot blame them; my past few years of listening to the Rolling Stones have had a tremendous influence on my work as well. But sometimes I kept being reminded of specific songs by other artists strongly. The song “Damaged” kept making me want to listen to the much better “Moonlight Mile.” I think most of us as musicians try to avoid that. We might say, “I want to make a song like this one,” but our intentions are to emulate what we like about that song without copying the song itself.

Don’t Fight It, Feel It

After the opening track that blends gospel with 60s rock n roll, band jumps into acid-house track “Slip Inside This House.” This cover of a 13th Floor Elevators song from 1967 provides their sideways step into a seemingly disparate genre. Then they make full plunge into house with the third track “Don’t Fight It, Feel It.” Apparently, their intention was the produce a modern verse of Northern Soul music. Music about dancing, for dancing, with groove and soul.

It’s definitely modern (as of 1991) and makes you dance. It has the house synthetic piano chords that comes and go. It has layered soulful lyrics about getting high and dancing. It has a great bassline and house drums. It has an annoying chirping synth. It goes on and on for seven minutes that I would only find bearable if I was dancing to it in a club, and even then I wouldn’t be sad when it was over.

Loaded

The band update their earlier song “I’m Losing More Than I’ll Ever Had” on the epic middle track “Loaded.” The earlier song, from their 1989 self-titled second album. I prefer the earlier version, of course, with its more guitar-rock sound and “Sympathy For The Devil” inspired bridge.

“Loaded” opens with a sample from the movie “The Wild Angels” with Peter Fonda declaring they “want to be free.. get loaded and have a good time.” This freedom sample is appropriate, considering the song’s strong resemblance to George Michael’s “Freedom 90” from the previous year. Like much of the synth drum patterns of the early 90s, this one dances with the extra hops during the third beat. The synth piano also plays the jazz-inspired chord rhythm patterns heard in a lot of house music of the period. Guitars come and go riffing in a distinctly rock style.

Primal Scream most succeeded in combining house with rock on this track. It proceeds through a journey, with different phases. This keeps the song interesting. While they use house’s tendency towards drawn-out repetition, they’ve found a compromise between what’s appropriate for listening vs. dancing. A dance-club audience thrives on that lengthy repetition, whereas a listener needs variety.

Aretha Franklin’s “Lady Soul”

Cover for Aretha Franklin's album Lady Soul

This week, I’ve been listening to Aretha Franklin’s album “Lady Soul” from 1968. This marked her twelfth album released in seven years since her first in 1961. Just over a week ago, I spent a week with her tenth album, “I Never Loved a Man the Way I Love You” from 1967. Both are fantastic. The songs of Aretha Franklin often played in our house when I was growing up. My mom had a copy of the “30 Greatest Hits” compilation on CD. She and my sister listened to it a lot. “Natural Woman” and “Respect” especially got a lot of play. Though her music filled my childhood, it took several years before I actually developed my own appreciation. Franklin’s singing amazes every time I hear her. She knows how to fill the songs with such emotion and power. A lot of singers attempt the same and often just sound like they are yelling. Aretha Franklin sings!

Chain of Fools

The album opens with “Chain of Fools,” written by Don Covay. The speaker of the song is in a relationship with a philanderer. She discovers that he has other lovers and that she is just one of many “fools.” And yet, she is determined to stick it out as long as she can handle. They use the metaphor of a chain consisting of links to represent the collection of lovers. This metaphor is used throughout the song, maintaining consistency.

There are three verses, the first two are eight lines, the third consists of four. Each set of four lines follows a ABCB rhyme scheme. With the exception of “fool/cruel” and “break/take” the rhymes are not strict. We have “man/chain”, “link/strength”, and “home/strong.”

For five long years
I thought you were my man
But I found out, love
I’m just a link in your chain
You got me where you want me
I ain’t nothing but your fool
You treated me mean
You treated me cruel

There is no real chord progression to the song, though there is plenty of groove and movement. The song provides soulful rock riffs over the same chord all the way through. The guitar mostly plays arpeggios, with a little melodic riffing, of the same minor chord. Joe South’s lead guitar plays some gritty low notes through a clean amplifier, again it’s simple but effective. The bass guitar rolls along, mostly repeating the same two bar pattern, one bar answering the other.

A Natural Woman

The soulful “(You Make Me Feel) Like a Natural Woman” closed side A of the record. Carole King wrote this song with her then husband and songwriting partner Gerry Goffin. I heard this song so much as a child that it feels like the first verse and chorus are just woven into me. It reminds me of the front door and windows being open throughout the house in the early spring. The lead and backing vocals joining and dancing around each other.

Spooner Oldham’s perfectly understated piano starts the song with a simple set of chords, like the piano in a small church. The verses follow a chord progression of I-V-VIIā™­-IV. Then Aretha begins “Looking out on the morning rain,” joined by the bass guitar. Gradually, the strings and drums also begin to play. A gentle, cautious, pre-chorus follows ii7-iii7, a progression that feels like it’s waiting for strength. Then the strings and backing vocals rise up in the chorus with religious joy, “You make me feel.. you make me feel.. You make me feel like a natural woman!”

Looking out on the morning rain
I used to feel so uninspired
And when I knew I had to face another day
Lord, it made me feel so tired
Before the day I met you
Life was so unkind
But you’re the key to
My peace of mind
‘Cause you make me feel
You make me feel
You make me feel like
A natural woman