This week, I’ve been listening to the Pixies‘ 1989 album “Doolittle.” My introduction to this alt-rock guitar band probably came through Nirvana and the Breeders. You can definitely hear that Nirvana influence coming from songs like “Tame.” “Doolittle” was nearly a decade old by the time I heard it. Though I know a few of the songs, this week was really my first time getting to know the whole album.
This Pixies album album sounds very 90s, even though it came out before music that typifies the 90s. At the time, it must’ve seemed so strange and new. It’s still unusual today, but definitely sounds dated. Just strange that it sounds dated to a time after it came out. That’s how influential it was.
I fell in love with “Monkey Gone to Heaven” the first time I heard it, whenever that was. The unusual start of the song caught my attention. A series of ascending chords drive out of nowhere, drums begin, then a hit from the bass as if this song is going to rock. Then.. a pause and the vocals calming state “There was a guy.” Instead of rocking, the collected and slightly menacing voice, tells us a story like recalling a legendary news item: “An underwater guy who controlled the sea got killed by ten million pounds of slugs from New York and New Jersey.” That’s the first verse: Nonsense that seems to make sense. The chorus consists of the line “This monkey’s gone to heaven” repeated four times.
“Here Comes Your Man” provides a great example of something I noticed throughout the album. The guitars often play monophonic surf-rock inspired lines. There’s not so much strumming of full chords as usually found in rock music. The album also features a lot more clean, or at least less distorted, guitar than I would’ve expected. When guitars are distorted or fuzzed, they are mixed further back than the clean guitars, providing more of a pad than a heavy drive.
The nearly instrumental “La La Love You” songs also features a lot of surf-rock style lead guitar. Again, this track opens with some rockin’ drums and then takes a mellow turn. It borders on instrumental cheese and surf rock. I love the bright clean electric with dripping reverb sound. The bass rolls along uninterestingly, which is actually in contrast to most of the album where the bass carries much of the instrumentation. The lyrics aren’t much, but that’s really the point. “All I’m sayin’ pretty baby, La la love you, don’t mean maybe.” is repeated several times as the song ends. In a way this song seems to represent much of what the undercurrent of the album: It’s an angular love-affair with rock n roll; it attacks what it loves.
This week, I’ve been listening to Radiohead’s album “Kid A” from 2000. When this album was released, I had just moved to Asheville a few months prior. “Pablo Honey” was one of my favorite albums and I really enjoyed “OK Computer.” I also liked the singles from “The Bends”. With each album, they were obviously evolving as an experimental band expanding the possibilities of the alt-rock genre. My first reaction to “Kid A” was one of disapproval. From my perspective, they’d gone off into the stratosphere, losing touch with rock music and the audience. It also got dangerously close to ambient music at times. In short, I did not like it.
About fifteen years later, I’m running into people who love this album. Some even consider it Radiohead’s best. So, I give it another chance. I now heard a band casting aside the confines of rock to focus on what had made them unique before. It seems they were rebelling against what people said and expected from them. Perhaps, they finally completely rebelled against the brit-pop Nirvana labelled they’d inexplicably acquired in the early 90s. I never understood that description, but there’s definitely no way anybody could say that about “Kid A.” I still didn’t like it.
Three more years pass and here I’m spending a full week listening to “Kid A” because it’s considered by many to be one of the greatest albums of all time. After devoting all this time to it, I still don’t really like it much. However, some parts of it grew on my a little. Some parts wore on me a lot. Overall, I think the album suffers from too much repetition without enough variation. Each song has some cool stuff going on. However, even the cool stuff becomes boring when it goes on for too long.
The “Everything In It’s Right Place” is one of the best tracks on the album. The few lyrics are oblique and opaque, which is true for most of the album. The lines capture a feeling of being overwhelmed and in a generally foul mood. Thom repeats lines several times, which makes them memorable and catchy. I almost don’t notice how little description the words give.
The chords follow an unusual pattern of I-II♭7-III♭6 for the intro, and then IV-I-II♭7-III♭6 for the verses. These strange series comes from playing a constant tonic note (C in this case) while playing triadic chords below it. I assume that the use of a constant C puts the song in the key of C, however, it feels like it may actually be in the key of F. The moments of the song that return to that IV chord FEEL like they are returning home to the tonic. This is not a conventionally way to work with chords in rock music and really sounds much more like jazz.
“The National Anthem” grabs my interest with its cool driving bassline. Unfortunately, that bass continues without deviation until it is mind-numbingly monotonous. I think of Mancini’s bassline in “Peter Gunn” which holds up to repetition because so much musically interesting happens over top of it that the bassline becomes a groovy background texture. In “The National Anthem” the unchanging bass line stays to prominent; furthermore, the other instrumentation fails to pull the focus away. I don’t like the chaotic brass free-for-all section. With its lack of musical substance, it’s just chaos. It sounds too much like an imitation of the sound of more avant-garde jazz without any direction or purpose. Rather than building on the bassline, they make stylistic noise in spite of it. And again, that pulls my ear to the bass.
The vocals provide the most interesting element of the song. Or, more specifically, the processing of the vocals. There seems to be a combination of doubling-up with a resonant synth, perhaps some ring-modulation, and altered reverb/delay. I’m not sure, but it does wonderful things to my ears. Too bad the lyrics fail to provide much to the song. All they gives us is “Everyone around here, everyone is so near. It’s holding on. Everyone is so near, Everyone has got the fear. It’s holding on.” That’s it. With this bassline and those horns, I feel that more story-telling is in order.
Probably my favorite track on “Kid A” was “Optimistic.” Again, the vocals repeat the same lyrics multiple times. The chorus has six lines, which are three lines repeated, the first two of which are the same: “You can try the best you can. You can try the best you can. The best you can is good enough.” It certainly helps the lyrics to be memorable.
I probably prefer this song because it’s a little more rocking than the others. The song features guitar. The clean guitar strums rhythmic chords like the Velvet Underground or Stereolab. Drums trip loosely across the toms, creating a somewhat exotic texture. Unfortunately, the song shares the quality of flatness with the rest of the tracks. From start to finish, there’s a feeling of samess due to the dreamy drift between sections and the lack of solid dynamics.
Overall, I didn’t think this was that great of an album. I appreciate it as serious shift transition from the old Radiohead to the new Radiohead, but I don’t know if I consider that a good thing. My tastes are more for the earlier Radiohead than what came after.
I’ve been listening to Prince’s 1987 Double LP “Sign ‘O’ The Times” for the past seven days. I devote each week to a different great album in order to learn as a songwriting musician. It also exposes me to a lot of great music. When “Purple Rain” came out when I was seven years old and I’ve been a fan ever since. Still, this week was really my introduction to “Sign ‘O’ The Times” which I’ve mostly ignored until now.
Despite some incredible high points, I found the album on a whole to be underwhelming. Some of that may be the expectation that it was going to be better than other Prince albums, due to collective critical acclaim. I just don’t think it is. I feel like much of it sounds like interesting song ideas and experiments that need more work. However, the album carries several great songs that I will definitely come back to.
The second track “Play in the Sunshine” was the first to get my attention. This upbeat track combines dance music with psychedelic pop. The chord progression is mostly I-I7-IV-IV7 repeated with a break between verses. The live percussions helps this track stand out. We can hear Prince’s favorite Linn LM-1 all over this album. His expert use of this machine leads to innovative and distinctive patterns; unfortunately he doesn’t incorporate enough variation within the tracks. “Play in the Sunshine” provides a great exception Even though the song only has a 100 BPM temp, the energy feels like much more. The use of the snare outside of the typical 2nd and 4th beat contribute to this.
There’s a sparse layering of instruments. Drums and bass play almost constantly; there’s a couple of keyboard lines that add effects and melodic color. I love the guitar solo in this song, even though it has little more than style. There seems to be a mixture of light flange with heavy distortion as he plays and bends screaming notes, adding a little wah towards the end.
“Housequake” sounds like Prince had fun, but the fun didn’t last over repeated listening for me. There’s some great use of James Brown influence on the track. I really hear it in the funky clean guitar riffs and the way the real and synth horns are used. I also pick up on some George Clinton Funkadelic influence in the vocals. Especially in the way he’s being goofy and creating a character to encourage people to dance. But where Clinton could keep a repetitive groove going and maintain my attention, “Housequake” just doesn’t do enough with it’s 4 minutes and 42 seconds.
The track “It’s Gonna be a Beautiful Night” more successfully goes for that funk jam party feel. The kick drum hits on every beat for a dance-worthy four-on-the-floor rhythm. With snare and handclaps hitting on the 2nd and 4th beats. Parliament-inspired chants like “We are beautiful, it’s gonna be a beautiful night” encourage audience participation. Another chant repeats the Wicked Witch’s guards “Oh-wee-oh” from The Wizard of Oz. The chant reminds me of the “Oh-wee-oh-wee-oh” of The Time’s “Jungle Love” which was primarily written by Prince. This song manages to keep me engaged and feels like a good time to listen to. The greater use of variety throughout the song is an improvement over “Housequake”. I also suspect that other musicians had great input, which can enrich a song.
“Starfish and Coffee” instantly became one of my favorite songs. The song opens with digital piano simply playing the chord progression of I-ii-V-I-vi-ii-V-I. This is based on the Circle Progression which is common turnaround progression in jazz and pop music. Vocal and drums then begin. Prince sings a simple melody that encourages sing-a-long, especially withe use of doubling backing vocals. Swirling synth pads give the song the psychedelic feel that the lyrics ask for. The lyrics are another strong-point for this song. They are narrative and provide a vignette of Cynthia Rose, a colorful unique character in the classroom.
Several moments of this album remind me of how I frequently hear Prince’s influence in the work of Trent Reznor. The track “U Got the Look” could very well be an NIN industrial track if the heavily distorted guitar was brought forward. The track also features a lot of great percussion work, with toms and bongos getting extra attention. Marching-band style rolls add an interesting texture to the track. I also just really love the sound of Prince’s guitar. I believe there’s some light flange or chorus with mixture of overdrive and distortion and a subtle reverb. It’s a great sound.
This album grew on me as the week progressed. I don’t personally agree that it is Prince’s greatest album. To simplify the story, Prince mostly wrote and recorded “Sign ‘O’ The Times” after suddenly firing his band The Revolution. I believe it suffers from being too much of a solo album. Perhaps we can all learn from this. The input of others can improve what we do, even one as incredibly capable as Prince. On the other hand, he’s also experimenting with combining genres and sounds. This experimentation is at times exciting, but sometimes leaves things feeling unfinished raw. Overall, a fantastic album, but not his best.
I’ve been listening to Led Zeppelin’s untitled fourth album from 1971. Each week I devote to an acclaimed album to learn as a songwriting musician. As with “Dark Side of the Moon” by Pink Floyd, I grew up hearing this Led Zeppelin album often. I imagine many of us born in the 70s did. Even with all of that exposure, it’s still a great album with surprises.
The fourth track “Stairway to Heaven” pulls together the greatest qualities of the album into one song. As an unfortunate side effect of being one of the greatest songs ever, it has become amazingly overplayed. I sigh with lack of interest when the song starts. My favorite portion of the song starts at after five and a half minutes. First, the guitars signal a transition through a dramatic series of chords sounding like horns. Jimmy Page then provides a fantastic soulful guitar solo. I like that the they did not distort the rhythm guitar to get a rocking sound. They gave it a sense of being big by double-tracking with some strong spring reverb. There, I talked about “Stairway to Heaven” mostly because I’d feel foolish not mentioning it. Seriously, I skipped it many times this week.
“Four Sticks” got my attention this time around. I hadn’t given it much attention in the past, so it still had a little sense of novelty. Also, the unusual rhythm of the song intrigued me. Some research revealed that most of the song is in a very unusual 5/8 time, withe some parts in a more common 6/8. I read that the rhythm of the song was so difficult that they almost gave up on recording the song. I hear a few times on the recording that they do slip up as a result. There’s a vaguely middle-eastern feel to the music. This comes from the combination of odd time signature, droning ascending scales, driving percussion, and energetically strummed acoustics. I sometimes find that songs in odd signatures will feel like they drift or ramble, but the 6/8 sections of this song give a sense of journey.
The seventh track “Going to California” is comparable to “Stairway to Heaven” while being much better. I like the collection of acoustic guitars and mandolin creating musical textures through arpeggios. They are panned mostly hard left and right, leaving space in the middle for the bass and vocals. The lyrics are more relatable than the Tolkeinesque-Rumi vagueness that happens on some of the other tracks like “Stairway.” The first verse is a pair of beautifully written narrative couplets. They get the listeners attention immediately through emotional story-telling:
Spent my days with a woman unkind
Smoked my stuff and drank all my wine.
Made up my mind to make a new start
Going To California with an aching in my heart.
Speaking of Tolkein, my other favorite track is “Misty Mountain Hop.” There’s also something unique about the rhythm of this song. The main riff of the song, which is played on both guitar and electric piano, actually starts an 8th note before the first beat of each measure and least for a full quarter. This song provides an a great example of what I first think of as the Led Zeppelin sound. There’s big loud drums, a heavy bass bottom, a blues-inspired hard grooving guitar riff, and Plant’s high-pitched vocals. The narrative lyrics describe a situation, a certain place and time, written with an ear to both blues and high fantasy balladry.
So I’ve learned a bit about the possibilities of mixing time signatures in a song. Their use of mysticism and fantasy elements is most enjoyable for me for telling real-world narrative. In addition, the way that they double-up on instruments to strengthen a riff is very effective. And you can’t deny the power of big drums.
I’ve been listening to the Ramones’ 1976 self-titled debut album this week for lessons I can learn as a songwriting musician. This album definitely provides a contrast from the modal jazz of last week’s Miles Davis album. I got my introduction to the Ramones through the “Ramones Mania” collection. I liked most of the thirty tracks; However, the songs seemed musically redundant. I mostly wrote them off. When I met my wife 18 years ago, she reintroduced me to her favorite band the Ramones. Thankfully, they had a broader range than I’d originally thought. So, what about their debut album?
Some see punk rock as a rebellion against disco banality and prog rock excesses. Some focus on punk as a revival of rock n roll, from which disco and prog had originated but drifted far away. The Sex Pistols, especially Johnny Rotten, probably leaned more toward the rebellion side. The Ramones were more perhaps more revival. On their debut album, the Ramones music bears elements of their influences like the Ronettes, the Beach Boys, and 1910 Fruitgum Company. The members of the Ramones heard these pop bands on the radio through their childhood. By the mid-70s, they’ve also been influenced by harder music like “Communication Breakdown” by Led Zeppelin. The Ramones brand of punk music strips early rock n roll and pop music down to its basic elements; They create short songs with catchy melodies, simple direct lyrics on adolescent themes, I-IV-V chord progressions, and basic rhythms.
The drummer plays minimalist beats with little to no flourish. The bass further drives the rhythm staying almost constantly on the tonic note of each chord. The guitar, likewise, provides a nonstop barrage of distorted barre chords. These give the music a wash of rock n roll sound, creating a style by opting out of stylistic additives.
The band will emphasize two consecutive beats in some songs, which is a distinctly Ramones rhythmic technique. They achieve this usually through the following. Throughout the rest of the measure (or two), the bass will drive along with constant eighth notes while the guitar is likewise being played with non-stop down-strokes. The snare will hit every 2nd and 4th beat with a kick every 1st and 3rd and maybe a downbeat in-between. To emphasize the two beats, the bass will play quick quarter notes and the guitar will strike then rest on both. Usually this will be the V and IV chords of the key. The snare will hit on both, accompanied by a cymbal. This pattern gets repeated every two bars.
Joey’s vocal make these songs worth listening to. His melodies are simple, yet catchy. His style incorporates a variety of approaches while always sounding very much like Joey Ramone. They are fed by a desire to mix early rock n roll with a 1970s New York cool. He’s often crooning like Elvis Presley incorporating vibrato and tremolo. Lines are punctuated with odd rockabilly hiccups and sputters, and occasional spits and snarls. All of these style in the vocals keeps the songs engaging while the rest of the instruments provide a utilitarian background.
The song “Blitzkrieg Bop” opens the album as a perfect introduction. The Ramones “Hey Ho Let’s Go” gets us “revved up and ready to go.” The lyrics “What they want, I don’t know” combined with the earlier lines “They’re piling in the back seat, They’re generating steam heat, Pulsating to the back beat.” sum up a lot of the album. These songs are soaked in a mixture of energetic anger, adolescent apathy, world-weariness, 50s rock n roll mythology, and naïvety. There’s that sense of seeing that the adult world sucks, but we’re not children anymore, so we’re going to have a good time in between.
The mid-album track “I Wanna Be Your Boyfriend” differs from the rest of the album. This slow song overtly wears more of the Phil Spector inspiration. Johnny Ramone even shows off an ability to play guitar beyond constant downstrokes. True, it’s still a I-IV-V chord progression, but the Ramones are built on stripped down rock n roll. I also like that this song features one of my favorite instruments, the glockenspiel. However, the mix buries the bells.
These are great rocking songs with the most basic of essentials. All of them work, not in spite of, but because of their simplicity. These very direct songs get the job done and get out. On the other hand, listening to them several times a day for a full week started to get boring. So, I learned that you can do a lot with very little. I don’t want to say these songs are without substance, but there’s just not enough there to keep them interesting.
For the past week, I’ve been listening to Miles Davis’s 1959 album “Kind of Blue” for lessons I can learn as a songwriting musician. Though not my first time hearing the album, this week definitely served as an introduction. As the songs are all instrumentals, I have no lyrics to discuss. Yet, the music itself speaks in a different language than I’m accustomed.
This is instrumental jazz instead of the rock and pop that I usually listen to. Furthermore, it presents to me the unfamiliar concept of modal jazz. I avoid giving an explanation here for fear that I get it wrong. The article on Wikipedia gives a basic description. Modal jazz is challenging to me, because I’m accustomed to tonal music. In tonal music, the foundation of a song consists of chord progressions that travel from and return to the tonic chord. As I understand it, modal jazz utilizes modal changes instead of chord progressions. Hack Music Theory has a short video explaining Modes. With modal jazz, Miles Davis gave freedom to the melody by releasing it from constraints of chord progressions. I hope I’m getting this right.
Still, my familiarity with tonal music contributes to “All Blues” being the song I most enjoy. While the songs goes through mode changes, within each the song follows a 12 bar blues chord progression. “All Blue” probably fails to be a true example of modal jazz for this reason. The track is in 6/8 time with the emphasis on the first and fourth eight note. Secondary emphasis on the third and sixth give the rhythm a little hop. A gentle rumbling piano opens the track to be joined by horns. This gives an atmosphere of the train yard in twilight or early morning. The rhythmic hi-hat tapping emphasizes this feeling.
That brings me to how fascinating I find the percussion on this album. It’s almost completely based on the hi-hat. The cymbals are played with great expression to convey rhythm. In rock and pop, the hats are most often used to keep time while the kick and snare convey rhythm. The percussion on “Kind of Blue” gives the hats great importance. The drummer plays the other drums much less often than I’m used to. The snare provides occasional emphasis, to add some flavor or to occasionally signify a change. A brush slides across the surface, the rim is tapped, or light trills provide texture. This greater variety of sounds from the snare really gets my interest.
The opening track “So What” also grabbed my interest. The piano plays “buh-boop” followed by the bass “duh doodoo doodoo doodoo doo doo” introducing the foundation of the song. There’s 16 bars in one mode, then 8 in another, returning to 8 of the first mode. Once this is introduces, a splash of cymbal tells kicks off the real journey. Horns take turns soloing improvisational melodic lines over the rhythm section. As mentioned earlier, the cymbals provide the sense of rhythm. The bass gives a foundation for that rhythm. On the piano, chords are played but they are not the drive of the song. They more provide interesting emphasis and offsets to the rhythm. Sometimes, to my ear, the chords sound strangely wrong, but oddly appropriate. This cool music sounds alien to me. I don’t understand the language, but I can feel it.
I definitely need more than a week with this album to full appreciate it. Its cool smoky night-time feel really gets me. I’m looking forward to more from Miles Davis as well as some of the other musicians on this album. John Coltrane and Cannonball Adderley played the saxophones and Bill Evans played the piano. I already know some of Coltrane’s work. I understand that Bill Evans was a major part of this album’s compositions. Also Jimmy Cobb played the drums here. I feel that I can learn a lot from his use of drums for my own programming of drum machines. I can learn a lot from this album, especially in the way instruments are being used and interact with each other. The concept of modal jazz presents a challenge to me which gives me a desire to further understand it.
This past week, I’ve been listening to the Sex Pistols’ 1977 debut (and only) album “Never Mind the Bollocks, Here’s the Sex Pistols” for lessons I can learn to improve my craft as a songwriting musician. Admittedly, that statement isn’t very punk rock and seems antithetical to the idea of the Sex Pistols. I’m not very punk rock either. Still, John Lydon (aka Johnny Rotten) spoke of the importance for musicians to know their craft and the work of others. I do that every week.
The album opens with the sound of troops marching as “Holiday in the Sun” begins. The dirty distorted guitars buzz in, providing a fantastic start to an album. Here comes the first line “Cheap holiday in other people’s misery” during the intro riffs. It hints at the tone of the album and introduces the listener to singer Johnny Rotten’s vocal style. His voice confidently delivers an attitude at turns sardonic, accusatory, witty, disgusted and angry. That single opening line expresses all of that really well before the actual lyrics even start. Most of the lyrics attack an institution of some kind, whether it’s the royal family, classicism, social norms, government, or even the music industry. This album gives voice to the disaffected frothing with disillusionment.
Twenty years ago, I thought it was sounded universal and fresh, now it definitely sounds 1970s and British. It’s the sound of youth, but it’s the youth of today’s youth’s grandparents. I imagine to a younger generation it might even have all the quaintness that “Rock Around the Clock” had to me at their age. Still, the Sex Pistols music is so infused with rebellion that it still carries some sense of danger, however outmoded.
The distinguishing riff of “Holiday in the Sun” follows the Andalusian cadence; This is a descending I5-VII5-VI5-V5 progression; Of course, the V (G5 in this case) provides a perfect return back to the I (C5) so it sounds great to our ears. It’s always been one of my favorites. This solid progression can provide a sense of menace as it does here. The Ventures’ “Walk Don’t Run” provides a much less menacing example. A verses repeat a V chord, dropping down to IV for rhythmic emphasis, and the choruses are I-II. This sounds a lot of like I-IV-V, giving the song a solid rock n roll feel.
The track “Pretty Vacant” has always been one of my favorites. The song opens with the guitar playing a distinctive broken A-chord. Undoubtedly, the opening riff provide some inspiration to Kurt Cobain of Nirvana. A I5-VII5-IV5-I5-VII5-V5 chord progression supports the verses. The choruses follow another descending riff: IV5-IIIb5-I. I notice here playing the chords within the key is not necessarily a conscious concern. As with Nirvana, the Pistols like wrote songs by finding movements of power-chords along the frets that sound good. Basically, for rock n roll, sometimes you gotta get your head out of the books and your fingers on the guitar.
The closing track “EMI” has also been one of my favorites since I first heard it. Johnny’s catchy vocal delivery instantly makes the song lovable. Plus, who doesn’t love a good middle-finger to the record company track? Well, okay, it could be pretty lame and come across as cry-baby whining that the average listener can’t relate to. I appreciate the audaciousness involved in blatantly naming the company. They lyrics involve too some admonitions regarding pop culture and the music industry for everybody’s ears. That and the song gets strength from its fantastic mixture of anger and fun. One can get a lot of musical miles out strong vocals, a chorused (or is it double-tracked?) overdriven guitar, bass, and drums.
The final song of the Sex Pistols final concert (not counting reunions) was an emotional expression of disappointment and disgust. For an encore they performed a cover of The Stooges’ song. Appropriately, this song was “No Fun.” I’ve never heard the original, but I’ve always liked the Pistol’s covers of it. I won’t go into the background stories of the Winterland concert, but suffice it to say Johnny had had enough; He was facing that realization and the last few minutes of that performance were the result. The Pistols weren’t built to last, but they produced a powerful album during their short existence.
I spent a week listening to Pink Floyd’s 1973 album “Dark Side of the Moon” for what I can learn to improve my craft as a songwriting musician. I do this each week with a different album with some recognition as one of the greats. My father enjoyed Pink Floyd so I grew up hearing this album quite a bit. I know all these songs very well. So there wasn’t a lot of discovery happening; this week reminded me what I love about the album.
Experts on such things recommend that songwriters have interesting vocals start during the first 20 seconds. The thinking went that somebody reviewing demos would hit eject if it didn’t get their attention in that time. In today’s world of internet streaming, recommendations include having an attention-getting hook within 7 seconds.
In sharp contrast to that advice, this album opens with 36 seconds of nothing but a faded-in heartbeat. Indeed, the first 7 seconds only provide near silence. Then a variety of sound effects rise into a maddening crescendo, broken by a slow groove with bass, flanged guitar, echoey slide guitar, and electric piano. Sometimes the electric piano and slide guitar meld into each other, losing their identity. It’s eerily dreamy.
I like that the songs of the album flow into each, but each is distinct. With “Dark Side of the Moon,” Pink Floyd crafted a collection of individual songs conceived as whole. This idea of an album had a huge influence on me. Before Trip Gunn, I designed whole albums. I built a structure of songs supporting an overall concept. My albums incorporated a Floydian style of having one song lead into the next. I decided with Trip Gunn that I would focus on writing good songs rather than always trying to make big albums. Not that one is better than the other, I just felt I needed to change the way I was thinking.
One of my favorite songs “Time” has not one, but two intros. That’s not why I like it, but I find it interesting. The track starts with the end of an explosion (from the previous track) and several clock alarm chimes going off at once. The second intro is a long section of long-held bass notes on guitar, rototom rolls, and electric piano. The rototoms, which were a new instrument at the time, add interest to a section that I would otherwise find too long.
After two and a half minutes pass, the actual songs kicks in with vocals and a funky rock accompaniment. A lot is said about Floyd in terms of space and psychedelic rock, but they had a particularly funky side too. The back-and-forth play between instruments in songs like this is particularly interesting. I love making use of this in some of my own songs and would like to do it more often.
Of course, “Eclipse” as well as the track “Brain Damage” that leads directly into it. The song has a gospel feel, thanks largely to the organ and backing female vocals. But also the repeating I-IV7-I-IV7-I-II-V-V7-I chord progression give it a spiritually uplifting feel. Added to this is that the track builds into intensity until reaching the concluding lines “Everything under the sun is in tune, but the sun is eclipsed by the moon.” And the song is over, fade out heartbeat.