Bob Dylan’s “Blood on the Tracks”

Bob Dylan's "Blood on the Tracks" album cover This week, I’ve been listening to Bob Dylan’s 1975 album “Blood on the Tracks” to improve my craft as a songwriting musician. Each Bob Dylan album so far has been monstrously impressive from a songwriting perspective. His skill to employ metaphor within narrative songs that utilize rhyme is astounding. For me, this album is right up there with “Blonde on Blonde” and I can’t get enough of it now that I’ve spent a week with it.

Finger-picked blues guitar drives the track “Meet Me in the Morning.” At first, I didn’t care for this song due to its repetitive nature. A twelve bar blues progression (I-I-I-I-IV-IV-I-I-V-V-I-I) provides foundation upon which Dylan sings lyrics that follow the twelve-bar blues blues format of one line repeated twice, then a line in response. Like much of the album, the lyrics deal with a struggling relationship.

The first verse opens with the title “Meet me in the morning, 56 and Wabasha. Honey, we could be in Kansas by the time the snow begins to thaw.” I’m not sure why they are meeting to travel, except perhaps as a change of scenery or escape. The next verse tells how some say it’s darkest before the dawn, but the singer is always dark. But, when the morning rooster crows in the third verse, the singer feels mistreated by his lover. He feels persecuted and trapped, and wonders if the love was a curse. “Look at the sun sinking like a ship. Ain’t that just like my heart, babe, When you kissed my lips?”

I loved this catchy song by the end of the week. I like the layers of multiple guitars.  In the right channel , a bright acoustic guitar plays rhythm-lead lines. A fuzzy slide guitar soaked in reverb provides some atmosphere in the background. Another acoustic guitar quietly strums the chords. And yet clean electric guitar joins later to pick some lead lines and also gets in conversation with the fuzz guitar during the outro.

Also, I find it impossible to not sing along to the mellow grooving bassline.

On “Shelter From the Storm,” Dylan sings tenderly of a love lost. The jangly acoustic guitar dances nervously between the bass and vocals. We hear the sound of the pick and/or guitar strap ticking and rattling against the guitar. These additional sounds of guitar-playing unintentionally provide the only percussion. This type of natural imperfections lends a sense of authenticity to the recording. The chord progression throughout is a basic I-V-IV-I, with the melody providing a sense of variation through the verses.

These are some tremendous lyrics. The song is about confusion, loss, frustrations and heartache, but he’s telling it through the sweetness and tenderness. That’s how the song manages to be so powerful.  Rather than talking so much about pain and loss, he talk about promises and what was lost. However, it’s the middle verse that puts everything in perspective.

Now there’s a wall between us, something there’s been lost
I took too much for granted, I got my signals crossed
Just to think that it all began on an uneventful morn
Come in, she said, I’ll give you shelter from the storm

Of course, there’s layers of ambiguity here as other themes become part of the picture. Images of Christ come into play, which could embarrassingly make a martyr out of the speaker, but I prefer to avoid that interpretation.  It’s too mighty a structure of self-pity, and also would be too self-righteous in contrast to other statements in the song.

The brilliant “Tangled Up in Blue” opens the album and remained my favorite song the full week. I rather feel it’s too great of a song to be the first. The opening chords of A and Asus4 play in my head all day. The verses are in a I-VIIb-I-VIIb-I-VIIb-I twice, followed by V-vi-I-IV twice and ends with VIIb-IV-I for the refrain of “Tangled up in blue.”

The first half of each verse is sung in a restrained back-and-forth melody, with the pitch rising for the second half. The percussion and other instruments likewise pick up in energy. This is balanced by the lower-pitched chords of E and F#m. The the refrain anchors the verse back to the tonic on “blue.” It’s interesting the use of chords for this key. The chords are more likely those of a song in the key of G, while the melody is actually in key of A.

As with the whole album, the layering and interplay of instruments is fantastic. Multiple strummed and picked acoustic guitars provide a full atmosphere of sound. Still they are mixed in a way that manages to keep things feeling stripped down.

The lyrics are the most amazing part of the song. A week definitely provides too little time to fully appreciate all he has going on here. At the very basic level, I appreciate the narrative quality of the song. Songs that tell stories, especially about characters and their relationships, get my interest. I especially appreciate tales of that touched on and lost and over-arching tales that narrow in on details. This is especially made poignant by going back to a place while accentuating the distance.

So now I’m going back again,
I got to get to her somehow.
All the people we used to know
They’re an illusion to me now.
Some are mathematicians
Some are carpenter’s wives.
Don’t know how it all got started,
I don’t know what they’re doing with their lives.
But me, I’m still on the road
Heading for another joint
We always did feel the same,
We just saw it from a different point of view,
Tangled up in blue.

Aretha Franklin’s “I Never Loved A Man The Way I Love You”

Album cover for Aretha Franklin's "I Never Loved A Man The Way I Love You"

I’ve been listening to Aretha Franklin’s 1967 album “I Never Loved a Man the Way I Love You” for lessons I can learn to improve my craft as a songwriting musician. Unfortunately, the world lost Aretha Franklin the day before I started my week with her album. This was an amazing album and I fell in love with several of the songs almost immediately. Unfortunately, I’ve been struck by a double ear infection that is sapping much of my energy; it’s difficult to concentrate to write as much as I usually do for these albums, but I’ll still talk a little about my favorite tracks. Her singing is tremendous and that remains true on every song.

“Soul Serenade” quickly became my favorite. I especially like the use of horns between the vocals in the chorus. They hit on the 3rd, 4th and 1st of the next measure. It makes that 1st beat feel like a 5th beat.

I also really liked the song “Do Right Woman – Do Right Man” particularly for the smooth extending of syllables during the chorus with backing vocals providing rhythmic repetition. The sparse accompaniment provides a good backing for Aretha’s voice on this slower track. The organ plays extended chords with the piano mostly tinkling occasionally on individual notes, and a basic drum pattern keeps the beat.

As I said this was an amazing album from start to finish. Definitely one that I will return to again and again in the future. I wish I felt better, so that I could do it more justice in writing. So instead, I’ll close with this great video of Aretha Franklin performing the opening track of this album, “Respect.”

John Coltrane’s “A Love Supreme”

John Coltrane's A Love Supreme album cover

This week, I’ve been listening to John Coltrane’s 1965 album “A Love Supreme.” I first discovered this album about eight years ago. At the time, I was studying painting at college. Some of my favorite artists, like Willem de Kooning, were fans of Miles Davis and Charlie Parker. While I painted, I’d listen to jazz CDs I’d borrowed from the school library. I found that I enjoyed much of it. I can’t say I always understood it. Regardless, jazz became part of my art-making routine.

John Coltrane’s “A Love Supreme” immediately became one of my favorites. It caught me off-guard as it went into musical territory I’d not yet imagined. The music confused me, yet somehow FELT like it made perfect sense. I even bought a brand new vinyl record of the album when I only had plans to buy a record player. Three years passed before I even had anything to play it on.  That’s how much I liked this one. 

Here’s the thing though, even after these years of hearing it off and on. Even after spending a full week with the album.. I feel ill-equipped to really write about it. I can tell you that I like it; I can talk about how it’s neat that he plays the 4-note “a love supreme” motif in several keys on the saxophone before chanting the words vocally. And I think that’s neat.

I appreciate that they repeat a melody line several times to establish for the listener what the basis for the next section is. And then they use that as a starting point to go off into other realms; cutting up the melody, flipping it around, filling it with seemingly random flourish and excitement. But then, they fold instruments in and around each other playing variation on themes (especially the love supreme motif) until they come back around. They weren’t just going crazy, but rather intelligently and methodically dissected the song, examined it, displayed it’s variations, and put it back together.

This is what I hear in this album. I’m not confident in saying that’s what it really is, but that’s what it is to me.  What I can note with confidence is that the album, with its four tracks, feels like a whole. There are (at least) three similarities that tie them together: the use of motifs, the methods by which motifs are used, and the instruments.  I appreciate that it sounds like a single performance. The same instruments are used from start to finish, recorded and mixed in the same way with the same sound to the room.  I like that.

So, in breaking with my usual way of writing about these albums, I’m mostly saying that I can’t write about this one as a musician. I’m in awe by what happens. I cannot explain what I’ve heard, nor understand how it was done. All I can say is that it is amazing.

Stevie Wonder’s “Innervisions”

Stevie Wonder: Innervisions album coverThis week, I’ve been listening to Stevie Wonder’s 1973 album “Innervisions” for lessons I can learn to improve my craft as a songwriter. For years, my only real awareness of Stevie Wonder was his work in the 1980s. At eight years old, I saw his appearance on the Cosby Show. I watched it many times on VHS and used to sing the song “I Just Call To Say I Love You” throughout my childhood. By the time I hit my teens, I grew to find songs like this and “Ebony and Ivory” were just cheesy. I didn’t become aware of his fantastic 1970s work until fairly recently. Some of the stuff I had heard before without realizing who it was. I absolutely loved spending a week getting to know this album.

Wonder is an accomplished multi-instrumentalist and plays many of the instruments on the album. Every instruments on “Living for the City” is played by Stevie Wonder. Fender Rhodes electric piano opens the song spinning left-right through the stereo tremolo. As with much of the album, Wonder makes use of the legendary TONTO for fantastic synthesizer  sounds. Once the drums start, the kick hits on every quarter note through the verse and chorus, though changes for the bridge.

The chord progression is very simple for the verse: I – ii – I7 – ii, with the synth bass mostly bouncing on on the tonic every quarter note. The chorus rises through a IV-IV-V6-V7 progression. The da-da-da-da bridge contrast with the rest of the song by being in 3/4 time as borrowing a series of chords from outside of the key. The first chord of the bridge could be vi7♭5,  then to vi♭ to v♭ coming done to ii♭ back to I.

Though the music is funky with a definitely bouncing groove, it would feel rather laid back without the vocals. Wonder’s singing gives the track its energy. He sings the verses with a rhythm and a simple melody; it’s almost rapping. He also punctuates the rhythm with non-verbal grunts, pops and ‘hee’s;’ Michael Jackson undoubtedly drew influence from Stevie Wonder. The synth bass and electric piano may be the heart of the accompaniment, but the vocals are the drive.

One of my favorite tracks, “He’s Misstra Know-It-All” closes the album. Wonder provides all vocals and plays all instruments except the electric bass guitar. Acoustic piano plays chords throughout. The chord progressions runs I-I7-I6-iv6-I-V-IV for the verses and a bridge/chorus of ii-I-IV-V-vi7-V-I-ii7. This use of extended chords provides interesting movement while essentially staying in the same chord.

A different idea for me, that seems so natural in the song, is the use of multiple time signatures within the verses. The whole song is in 4/4 time with an exception at the end of each verse. Every verse has the refrain “He’s miistra Know-It-All” in 2/4 time.

I like the use of synthesizers to add little magical flourishes to the top end of the piano lines. Sometimes they are like soft sparkles drifting into the air.   At the half-way point, Stevie’s vocals pick up in energy and hand-claps increase the sense of energy. It also helps the song feel like it’s coming to a close.

My Bloody Valentine’s “Loveless”

This past seven days, I’ve been listening to My Bloody Valentine’s album “Loveless” from 1991. I devote each week to a different album considered great in order to improve my own craft as a songwriting musician. It also introduces me to a lot of great music. This week was an unusual challenge. At first, I thought the album was awful. By the end of the week, I thought it was mostly awful. The blame does not fall on the songwriting. In fact, I find it difficult to speak about the songwriting at all. The recording and production choices stand as a major hurdle for me. The way they play their instruments did not help either.

This album drowns the listener in a lush warm fuzzy wall of sound. The use of reverb, including the weird reverse-reverb, gives instruments like the guitar an expansive atmosphere of depth. Or at least they would, except the sound is often flattened by emphasizing the production layer. This album often reminded me of an old cassette tape deck I had. The worn out belt would cause the playback speed to rise and fall. Parts also reminded me of another tape recorder on which the head wasn’t aligned quite right. When used to record music on a tape that already had something on it, you would get a mix of the new audio, the previous audio, as well as a little bit of the opposite side in reverse. All of these oddities brought focus to the medium of tape, which is flat. Much of “Loveless” sounds two dimensional to me in the same way.

Guitarist and principal artist of My Bloody Valentine, Kevin Shields, has a fascination with the whammy bar. He strums the guitar while applying pressure to the bar. This creates an effect where the guitar frequently undulates in and out of tune. Pushing this through layers of reverb provides the listener with a feeling of seasickness. It sounds cool, except that he’s doing it too much.  As a child, I dug the syncopated way my Speak-N-Spell said “apostrophe.”  I pushed the apostrophe button over and over again; It brought me joy while annoying everyone around me.

The guitar, the effects on the guitar, dominate the album. For most songs, the guitars shove the other instruments to the back. Drum loops rotate behind the wash of fuzzy reverb. Hints of bass guitar come and go. Sometimes something that sounds like keyboard overloading a toy speaker pushes between the blanket of guitar.

The songs also have vocals. I’ve heard them washed out by reverb and pushed well-beneath everything else. This is not true with all songs, but it seems to be the preference. The vocals sing in a quietly disinterested way, as if they are provided more out of obligation than desire. This expresses a cautious layer of self-conscious cool.  It almost works, but I would push the vocals more forward, give them some presence. They do have melodies and probably even lyrics, if you can manage to hear them.

The start of Only Shallow misleadingly implies a guitar-driven alt-rock album. As mentioned earlier, the focus on the album is more production and creating atmospheres of noise. While it can be argued that these are integral to the songs, I feel that the songs became reasons to create noise. This leads to soundscapes enjoyable in small doses. They wear tiresome long as whole songs.

Frequently, I would get whiffs of Stereolab, one of my favorite bands. The second track Loomer reminded me of Stereolab’s album Transient Random-Noise Bursts with Announcements like the song “Jenny Ondioline” which I love. My Bloody Valentine released “Loveless” two years before that Stereolab album. I may’ve liked My Bloody Valentine more if I’d heard them when I was in high school, instead of 25 years later.

Here Knows When” provides a strong example of the elements I don’t like about this album. I suspect fans of the band love this song for the same reasons. Imagine alternately recording Cocteau Twins, Jesus and Mary Chain, Stereolab on a worn out cassette tape with a cheap recorded and then recorded the sound of a motorcycle race over it. I really feel like this started as a good song.

For me, When You Sleep stands out as the best track. the song brought “Degrassi High into my mind for reasons I can’t understand. The use of a melodic instrument between verses and choruses helps tremendously. Vocal samples of ‘ooo’ played like a warped mellotron interact musically with the apparent synth. They’ve layered male and female vocals in a way that successfully brings the vocals forward, almost. I still don’t know what most of the lyrics, but I like what I’ve caught. I suspect an expression of awkward teen crush and bubblegum. Then it goes on too long, over-compressed and lacking variation.

Radiohead’s “OK Computer”

Radiohead "OK Computer" album coverThis week, I’ve been listening to Radiohead‘s 1997 album “OK Computer” to learn from as a songwriting musician. I remember when this album came out and I loved it immediately. This week served not as an introduction, but as an opportunity to re-examine the familiar for something new. As soon as I heard the open guitar line of “Airbag” I knew it was going to be a great week. I love this album. Unfortunately, that makes it difficult to listen to objectively and write about.

Guitarist/multi-instrumentalist Jonny Greenwood enjoys experimenting with the possibilities of his instruments. Effects pedals alter the sound of the guitar in unusual ways. He also incorporates a variety of unusual playing techniques. I remember being blown away the first time I saw the “Creep” music video. Jonny’s guitar stabs introduced the chorus. His manic strumming launched into a guitar solo that feels much more like he’s trying to save his life.

The song was innovative for Radiohead’s sonic character of their instruments, including vocals. The song itself borrows a lot from The Hollies’ “The Air That I Breathe” but the sound and performance are wholly unique. Today’s listeners often hear “Creep” as typical 90s alt-rock. Radiohead so quickly evolved far beyond their first album, it’s difficult to realize how strange it sounded when it first came out.

The second track “Paranoid Android” remains one of my favorite Radiohead songs. It opens with a latin-influenced rhythm including a clave and a gentle acoustic guitar playing broken chords. This suggests an atmosphere of elevator and dreams of a 1950s family vacation. Appropriate for the “Please could you stop the noise

I’m trying to get some rest” line. The second verse has the unfriendly, yet catchy, line “When I am king, you will be first against the wall.” After about two minutes, the music takes on a slightly sinister feel thanks to some rhythmic single low notes on the guitar. At 2:40, distorted electric guitar strike as Thom spits, “You don’t remember…” Jonny then plays a great, flourish-free, fuzz guitar solo panned full left. A mixture of time signatures add to the exotic other-worldly feel of the song. And then it moves into a mourning-choir section. Distorted guitars rip back into the song. The Rhythm guitar and drums play the ending rhythm, but the fuzzed out lead guitar soars into high notes drawing the song back into life before letting it end.

The great song “Karma Police” does interesting things with chords in their key. The first part of the song is in G major, then the outro is in B minor. The chord progression for the verses could be i-III-v-VII if in A minor, which would be great. However, being in G major, the chords actually follow an unusual ii-IV-v-I progression.

The chorus could be a I-II-V-IV#7 in the key of C major, which again would be great though weird. But, still in G major, the chorus is actually a IV-V-I-VII7. These unusual progressions are played simply on the piano with a strummed acoustic guitar adding texture to the background. Overall, the song has an ambivalent feeling of stability and fragility, marching and floating.

Thom lifts his voice up during the outro;  He sings, “Phew for a minute there, I lost myself.” This matches the peculiar contradiction of a minor key with a triumphant feeling. I love that combination. The opposite happens in the chorus where the chord progressions seem to go from A minor to C major, but the mood drops with an mildly threatening statement of purpose: “This is what you get when you mess with us.”

The blissfully perfect “No Surprises” remains one of my favorite songs. Sonically, it bears some resemblance to The Velvet Underground’s “Sunday Morning” from their debut album. With the slower tempo, use of glockenspiel and guitar over a bassline with little percussion and softly sung vocals. The two verses vollow a I-vi-ii-V-I-iv chord progression. The minor iv adds a sense of longing to the pull for resolution. I love this song. The sound is delightfully pleasant tinged with melancholy.

Throughout the album, obtuse lyrics build emotional images of anxiety and distress. I don’t want to make too much of the comparison, but it bears some relation to Pink Floyd’s “Dark Side of the Moon.” Both albums deal with the difficulty and burden of living in modern society.  With Radiohead, the lyrics are much more post-modern. At times, they’ve constructed lyrics from lists and yet others are collections of sentiments.  These are pulled together to create an overall sense of meaning, sort of like reading between the lines.

Overall, “OK Computer” continues to be one of my favorite albums. Radiohead make great use of inventive chord progressions. I also appreciate their attention to sonic detail, from use of effects to the choice of instruments. This is true, of course, with all bands. Yet, Radiohead seek out new ways to create strange auditory experiences. They thoughtfully combine these in meaningful ways that suit the songs.

Fleetwood Mac’s “Rumours”

Fleetwood Mac's "Rumours" album coverI spent the past week listening to Fleetwood Mac‘s 1977 album “Rumours” which is considered by many to be one of the greatest ever. Before I get into that, let’s go back to my childhood again. This album came out two weeks before my birth. Radio played the singles with heavy rotation during my first few years. My family bought a CD player in 1985 and we soon acquired this album on CD. I grew up hearing this album, but I haven’t listened to it much on my own until this week. What did I learn from this album to improve my own craft as a songwriting musician?

One of the best-selling albums of all time, Fleetwood Mac’s “Rumours” stands as a quintessential example of mid-late 1970s soft rock. This album is well-crafted and immaculately produced to a fault. I find the sound so likeable and easy to enjoy that it becomes unbearably pleasant. I hesitate to say there’s not enough risks taken, because much of the music is very inventive. It even feels odd to complain that the album is too good. It feels so awfully like it aims to please, which is often at the cost of sincerity.

However, these are not lyrically happy or pleasant songs. Feelings of heartache, listlessness, lost love, emptiness, and pain run throughout the album. This comes as no surprise considering the atmosphere they wrote and recorded the songs in; Two of the band members were going through a divorce (from each other), two other band members were in the process of breaking up, and another was divorcing his wife. We can hear the band members speaking to each other about these situations through the songs. The strong songwriting, musically and lyrically, shines through the pleasant soft rock feel making the album worthwhile.

My favorite track on the album is “Dreams“, which was written and sung by Stevie Nicks. At 12 years old, I recorded a song with a chorus of “Once you’ve been and once you go”;  Only years later did I realize that they mimicked Stevie’s “what you had and what you lost”. In addition to her songwriting, Stevie’s amazing voice makes this song stand out. I think they would’ve done better if she sang lead on more tracks.

The song is in Am at a moderate tempo of about 115 BPM. Interestingly, most of the song plays through a VI7-VII (F-G) chord progression. They touch the tonic Am chord only briefly during the guitar solo. I like that this keeps the song feeling like it never really resolves, but when it almost does it feel particularly sad because it does so with a minor chord.

Christine McVie track “Songbird” feels like Joni Mitchell lite, but I like it. Part of the attraction may be that it is a break from the soft rock. I don’t think much of the lyrics, though I like the titular line “And the songbirds keep singing, like they know the score.” The accompaniment follows a I-IV chord progression, with some ii and vii during the second half of the verses.

Second Hand News” does a great job of opening the album. Full of the breezy production of “Rumours”, but also with a good driving rhythm.  It feels like rolling down the windows and driving in the country on a nice summer day.  In contrast, the first two lines fittingly introduce the album: “I know there’s nothing to say; Someone has taken my place.” It’s strange to think how the words are directed at Stevie Nicks, but she’s singing backing vocals.  The verses about the breakup end with some uncouth lines “Won’t you lay me down in tall grass and let me do my stuff.” Lindsey delivers the lines enjoyable making the listener want to sing along. Then go into the catchy, but decidedly meaningless, chorus of “bow bow bow buh bow bam bow”.

Slate ran an article a few years ago with the subtitle of “Why is Fleetwood Mac the least influential great band ever?”  I don’t know their answer, but I agree with the question. While these songs are all well written, well performed, and immaculately produced, they fail to inspire me as a songwriting musician.  The whole album is good, but it doesn’t excite me.*

* Update (May 22, 2018). I may have to retract my original statement about not being inspired by this album.  So much of what happens on this album musically and lyrically keeps coming back to me, and I’m finding its influence appearing in some songs I’m writing now.

The Rolling Stones’ “Let It Bleed”

Rolling Stones' "Let It Bleed" album coverI’ve been listening to The Rolling Stones‘ 1969 LP “Let It Bleed” for the past week. Each week, I give attention to an album widely considered great in order improve my own craft as a songwriting musician. I’m also getting to hear a lot of great music as a result. “Exile on Main Street” had its turn a couple of months ago. I’ve been into that album for a few years already, but “Let It Bleed” as an album is new to me. I’ve enjoyed some familiar tracks and been introduced to some I hadn’t heard before. Though overall not as good as “Exile,” there’s a lot to appreciate on “Let It Bleed”.

The opening guitar riff of “Gimme Shelter” has long been one of my favorites. It’s an oddly muted and gently picked arpeggio on a clean electric guitar through either a tremolo or Leslie, with a simple solo of sparse notes played on a slightly overdriven electric guitar. I love this amazing and highly unusual sound. The strange chord progression (I-VII-VI) adds to the urgent yet eerie atmosphere. Normally, a descending progression would continue to the fifth to provide a natural sounding return to the tonic, but that doesn’t happen in this song.

With it’s a chorus of “War, children, it’s just a shot away; It’s just a shot away”, this song has appropriately been used in countless documentaries and movies, especially those dealing with the Vietnam War. The very sound of the intro conjures of those images; since I wasn’t born until after the Vietnam War, I can’t say if the documentaries are the reason or if it is the song itself. Generally speaking, the lyrics of these songs reflect the hopes and anxieties of the late 1960s, including serial killers.

This dark topic is explored in “Midnight Rambler“. As a narrative, the song progresses like the classic spooky tales where the murderer keeps getting closer and closer. The perspective of the lyrics changes throughout and we wonder who is speaking. Mick asks “Did you hear about the midnight rambler?” suggesting that he is an innocent gossip spreading a warning tale. As descriptions grow more detailed and the murderer gets closer, the speaker becomes the assailant. This leads up to the final verse, where all is violent confusion:

Did you hear about the midnight rambler?
He’ll leave his footprints up and down your hall.
And did you hear about the midnight gambler,
And did you see me make my midnight call,
And if you ever catch the midnight rambler,
I’ll steal your mistress from under your nose.
I’ll go easy with your cold fanged anger .
I’ll stick my knife right down your throat, baby, and it hurts.

The song’s V-IV-I chord progression (though it might be I-VII♭-IV) drives along with a slightly menacing bluesy eight-note groove. In keeping with the lyrics, the accompaniment builds slowly in intensity until dropping to a near-crawl at the half-way point. From there the tempo gradually ramps up in speed again rising in crescendo to the stabbing at the end.

There’s a bit of country influence on these songs, but the worst example is “Country Honk“. It’s a country reworking* of their great song “Honky Tonk Women” which had been released as a single earlier. Unfortunately, they really just made a mockery of both country music and their own song. It’s the weakest moment of the album. Better is the old blues song “Love in Vain“, which is a cover of a song by Robert Johnson. Because I’ll be getting to Robert Johnson in a later week, though, I’ll hold on discussing it

The strong title track “Let It Bleed” uses a regular I-IV-V-V7 chord progression. The feel-good sing-along first chorus says “Well, we all need someone we can lean on and if you want it, you can lean on me” with later choruses playfully replacing “lean” with “dream”, “cream”, and “bleed.” I’m not sure how much sarcasm we can read into the chorus, but the verses seem to tell a much different tale. Notice here also the rhyme scheme as well as the repeated use of slightly similar sounding three word phrases.

I was dreaming of a steel guitar engagement
When you drunk my health in scented jasmine tea
But you knifed me in my dirty filthy basement
With that jaded, faded, junky nurse oh what pleasant company

My favorite track “You Can’t Always Get What You Want” opens with a boy’s choir singing the first verse. I believe removing this intro would be an improvement. Then the song repeats a I-IV chord progression almost the whole way through, with the choruses ending with a II-IV-I cadence. The sound of Mick Jagger’s clean vocals up-front with a lone acoustic guitar is a great opening to the song. With the last line of the first chorus, a piano and organ add to the accompaniment. A choir of voices join Mick to sing “You get what you need”.

Like other songs on the album, the verses are narrative with the chorus providing a message or lens through which to see the verses. The chorus of “You can’t always get what you want, but if you try sometimes you just might find you get what you need.” provides a great way to close the album about the turbulent 1960s. This bumper-sticker type of philosophy usually makes me roll my eyes, but the way they work with the verses makes it OK. The fourth verse is probably my favorite; I love the narrative of a small moment through which we get a glimpse of a character’s life.

I went down to the Chelsea drugstore
To get your prescription filled
I was standing in line with Mr. Jimmy
And man, did he look pretty ill
We decided that we would have a soda
My favorite flavor, cherry red
I sung my song to Mr. Jimmy
Yeah, and he said one word to me, and that was “dead”

* Correction: After writing this, I learned that “Country Honk” was the original version of the song and the Rolling Stones thought it would be interested to redo the Hank Williams style song as a rock song. I still think that “Country Honk” is an embarrassingly bad attempt at country music that borders on parody.