learning Archives - Trip Gunn

Macintosh Plus’s “Floral Shoppe”

This week, I’ve been listening to Vektroid’s 2011 album “Floral Shoppe” released under the alias Macintosh Plus. This album receives wide recognition for its early and continuing influence on the vaporwave micro-genre. Vaporwave originated in 2010, though was mostly developed through 2011-2012 with albums like “Floral Shoppe” and Chuck Person’s “Eccojams Vol. 1.” via interactions through music-based social networks.

From my outsider perpsective, Vaporwave comes as a human reaction to en-masse pre-millenial nostalgia interpreted through the internet’s kaleidoscope. The methods of vaporwave consist of manipulating samples of ephemera from the rise of cable television in the mid-80s to the emergence of the internet in 2001. Typically, though not always, these samples are looped, chopped, and slowed down. There’s generally tendency to find samples for which the limitations of the medium are evident. We hear not just the music from an old Pepsi commercial, but also the layers of cable broadcast artifacts, the aged VHS tape, and finally the artifacts of YouTube audio compression. The content is just as important as the distance between now and then.

リサフランク420 / 現代のコンピュー

With very rare exceptions, vaporwave artists create their tracks by manipulating samples. They typically choose to sample media that is decidedly dated; musically that early adopters of the internet (late 90s/early 2000s) may find nostalgic. Instrumetation in the original songs tend to feature 80s drum machines and FM synthesis. In this case, Vektroid has sampled Diana Ross’s 1984 cover song “It’s Your Move.”

The samples then get Chopped and Screwed, a hip-hop remix technique developed by DJ Screw in the early 1990s. The “screwed” part refers to slowing down the original sample; This may or may not provide the feeling of drinking sizzurp, or lean (a cocktail made with codeine-based cough syrup). The samples are then chopped by cutting, looping, scratching, skipping, or otherwise interrupting and manipulating the flow of the song. Most vaporwave artists work with computers using DAWs or audio digital audio editors. This gives them further flexibility to alter the sound, often applying echo delay and reverb, and sometimes flange effects.

In “リサフランク420 / 現代のコンピュー,” Vektroid slows down the original sample and employs loops to repeat phrases of the original song. In this way, tracks on the album frequently make the listener feel stuck in time. By denying phrases their original resolution, new earworms are generated. These songs frequently recall the moments that we get a faint memory of something but can’t remember what. The music sits on the edge of background and foreground. In this track, further tunnels of repetition are created through the use of feedbacked delay, allowing the sample artist to build fills from source material that does not itself have a fill.

花の専門店

Vektroid built the third track on the album, “花の専門店’ mostly from samples from “If I Saw You Again” by late-1970s soft rock band Pages. The opening ascending synth arpeggio of the original provides the intro here, though slowed down. Hearing the Floral Shoppe version makes the original seem comically fast. After repeating the arpeggio four times, fading in. At the point the original song starts, this Vektroid throws in a series of rapid cuts mimicking the effect of a skipping CD player. We make a few passes through phases of the song, rapid short repetitions of about about 175 BPM, that’s 1/8th notes of a slow-rock song.

Vaporwave is often not afraid of tempo or rhythm changes. In other sample-based genres like hip-hop, the samples are almost always cut to apply the rhythm of the source material to the rhythm of the new song. Vaporwave often uses this same approach but does not consider it a hard-rule. Exciting, but jarring, new rhythms and textures are created by cutting and looping the original source material to create new rhythms. Time signatures fold in on themselves, erasing expectations and writing new patterns.

数学

I like the seventh track which feels like 90s cyberpunk television and a vaguely sinister dreamworld made of ephemeral memories. The track features slowed and chopped up samples of Dancing Fantasy’s track “Worldwide” from their album of the same name. The original mixes elements of 90s new-wave music that I hate and more atmospheric 90s industrial music, which I like. The strange rhythmic texture sounds oddly familiar, like I’ve heard it in something else. The rest of the original albums sounds like early 2000s JRPG soundtracks, which I love.

It opens with a short sample, looped at slow 72 bpm. With its atmospheric hum and soft metallic percussion, the effect is of a distant giant machine churning late into the evening. When living near a factory and plant, the citizens are constantly aware of their sound and presence of the industrious machines, but overtime they become part of the landscape, ignored.

Further percussions gets layered in. Most of the percussion is gentle, more rhythmic than percussive; all of it is synthetic. Synth woodwinds exchange brief melodic phrases, always with the constant drone of the machine. These waves of late-80s tv and cinema scenes when it was understood that a saxophone singing gently in the night made everything romantically cool, a beatnik shorthand.

The music of vaporwave often embraces these clichés while acknowledging their artificiality. Like being caught in that very brief moment when learning how a magic trick is performed, but still believing it was was real.

The Band’s ‘The Band”

This week, I’ve been listening to The Band’s self-titled second album, which was released in 1969. The Band started as rockabilly artist Ronnie Hawkin’s backing band, The Hawks, in the late 50s. They earned recognition as Bob Dylan’s backing band in the mid 60s, taking on the name The Band. They then broke off and did their own thing, to considerable acclaim. I’ve only heard a couple of their songs previous to this week. I really liked this album, though I didn’t quite come around to loving it. It took several listens to shake the feeling I was listening to Dylan’s backing band without Dylan. There’s some excellent musicianship here and some pretty good songwriting. The overall human looseness of the performance impresses me. This as well as the production produces a very live and raw feeling to the record.

The Night They Drove Old Dixie Down

The third track on the album “The Night They Drove Old Dixie Down” tells of the fall of the American Confederacy. The narrative comes from the perspective of a poor white Southerner looking back on the final days of the American Civil War. Strange for a Canadian songwriter in the 1960s with progressive views. Nothing about the song, despite the mournful voice of the narrator, seems to be an endorsement for the Confederacy. To the contrary, I hear this less as a song about the Civil War specifically and more an empathetic tale of those left paying for a war on the losing side.

A kick drum and weakly played piano chord kicks off the song in a major key. Though the song is in a major key, it’s often played as if in the relative minor. The drums and piano are joined by lead vocals, bass guitar, acoustic and electric guitars. A melodica provides pads the background creating a distant train-whistle effect. The rhythm of the song is loose, almost stumbling. There’s the feeling of mutual mourning after a night of drinking among the group.

The verses follow a vi-I-IV-I-ii played twice, then vi-IV-I-ii played twice, with a major II leading into the chorus. In the relative minor, those chord progressions would be i-III-VI-III-iv and i-VI-III-iv. Neither are strong progressions, but from the perspective of the relative minor they look more conventional. The chorus however, feels more triumphant with a stronger I-IV7-I-IV7 chord progression repeated twice followed by an forlorn anthemic post-chorus of I-vi-V^sus4-IV-I.

The lyrics of the three verses are built on ABABCCDD rhyhme scheme. However, this is not consistent. For the first verse, A and B are themselves are slant rhymes and the in second verse A and B rhyme; So the rhyme scheme for the first two verses could be written as AAAACCDD. I don’t know if that follows convention, but I use it here because of the ABAB of the final verse. The choruses then follow a ABAB rhyme scheme closed with a ‘na na na’ post-chorus.

Virgil Caine is the name
And I served on the Danville train
‘Til Stoneman’s cavalry came
And tore up the tracks again
In the winter of ’65,
We were hungry, just barely alive
By May the tenth, Richmond had fell
It’s a time I remember oh so well

Up On Cripple Creek

“Up On Cripple Creek” brings a funky sort of country rock towards the end of side A. I knew this song before this week, probably the only on the album I’d really heard before. The first thing I remember loving about it is the sound of the clavinet played through a wah pedal at the end of each verse. Growing up, I thought it was a Jew’s harp. It creates a great sound, which through the verses gives an almost funk feel. At the same time, Garth Hudson simultaneously plays the organ and provides backing vocals.

Here, the band follows more convention strong chord progressions of I-IV-I-IV-V repeated twice in the verses. Then they follow a I-IV-V-vi-VII in the chorus. That unusual rise up to a major VII increases the far-out effect of the clavinet riff that closes each chorus. The other instruments back down to let it happen as a sort-of aside.

They’ve written the words of the chorus as an almost call-and-response, though the lead vocalist delivers both lines. There’s a short “if this…” followed by a short “then this” for what the beloved Bessie of the song will do. The first three lines, seen as three lines follow an AAA rhyme scheme, however if we break them up into six lines, we end up with an ABABAB rhyme. The final line of the chorus does not necessarily rhyme, though there could be an argument for “dream” and “see one.” There is consonance with drunkard/dream/did.

Up on Cripple Creek: she sends me
If I spring a leak: she mends me
I don’t have to speak: she defends me
A drunkard’s dream if I ever did see one…

King Harvest (Has Surely Come)

With “King Harvest,” the Band continues to sing about the rural poor of the American South. In this case, a farmer faces hardship and joins the a union in hopes of turning his life around. He prays for rain and maintains hope that “King Harvest will surely come.”

The drums here are particularly dry, with the tight snare drum punching a hole right through the mix. Organ and electric guitar build a funky rhythm around what is essential an up-tempo country-rock song. Contrary to convention, they perform the verses more energetic, leading into a growing up-beat prechorus, with a low-energy down-beat chorus. The chorus even sort of peters out towards the end, the hope for King Harvest doesn’t sound quite so hopeful.

John Mayall & the Bluesbreakers’ “Blues Breakers with Eric Clapton”

This week, I’ve been listening to the debut album by John Mayall and the Bluesbreakers “Blues Breakers with Eric Clapton” from 1966. John Mayall and the Bluesbreakers released a live album “John Mayall Plays John Mayall” the year and were making a name for themselves. Eric Clapton left the Yardbirds, because he didn’t like the direction the band was going in with songs like “For Your Love.” Bluesbreakers bandleader keyboardist-singer John Mayall heard the news and asked Clapton to join his band. Clapton agreed, but left after one album to form Cream with Ginger Baker and Jack Bruce. The Bluesbreakers also featured bassist John McView and drummer Hughie Flint on drums. Alan Skidmore, Johnny Almond, and Derek Healey supply horns on a few of the tracks. Gus Dudgeon, who later worked with Elton John, was engineer. Mike Vernon, who worked with many British Blues bands, produced the album.

When I was a teenager, I had a tape of Eric Clapton’s soundtrack for the movie “Rush.” I don’t know where I got it from, I never saw the move. My favorite thing about the album was the strand of Jennifer Jason Lee’s hair on the cover. I traced that for part of the artwork on one of my own tape recordings. I hated the song “Tears in Heaven.” It was too “old man music” for me and I couldn’t see to escape it playing on the radio and the rest of the album was too “Austin City Limits” for me. In other words, my teenage tastes ran contrary to the sounds of Eric Clapton. It made me write him off completely, somehow forgetting that I loved his 70s classic “Cocaine.”

The open kicks off with a good cover of Otis Rush’s “All Your Love.” As with some of the covers on this album, though, the originals are better and the tremendous sound of Clapton’s guitar makes it. Their cover of Ray Charles’s “What’d I Say” lacks the energy and groove of the original, mainly because Mayall’s voice isn’t suited for a song so dependent on the power of Charles’s delivery. The band shines when playing Bluesbreakers originals.

Hideaway

The second track, “Hideaway,” provides an opportunity to trace the history of a song. Here, the Bluesbreaker’s are covering Freddie King’s blues instrumental “Hideaway” as recorded in 1960. Freddie King likely took inspiration from a song by Samuel “Magic Sam” Maghett, recorded as “Do the Camel Walk” in 1960. Freddie King and Magic Sam both picked up the song from Hound Dog Taylor who would play it as “Taylor’s Boogie” to open shows in the late 1950s. He eventually recorded a variation of it as “Taylor’s Rock” for his debut album in 1971. I truly enjoy the Freddie King recording, but the Bluesbreaker’s play it louder and harder.

With “Hideaway,” the band plays a standard 12-Bar Blues chord progression with sevenths: I-I-I-I-IV-IV-I-I-V-IV-I-I. The bass-guitar plays a walking bassline providing the foundation for this progression. An organ, panned far-right, plays the chord rhythmically with stylistic flourishes like slides. The drums sit in the background emphasizing the rhythm. The drummer is playing hard, but has been pushed low in the mix. Clapton’s guitar sits front and center, providing the majority of the melody. For fun,they even throw in a little reference to Mancini’s “Baby Elephant Walk” that had just come out earlier that year.

Double Crossin’ Time

The Blues Breakers original “Double Crossin’ Time” tells of being double-crossed. The lyrics are ambiguous, beyond being about a male friend who works behind the singer’s back to make them lose. As this is early British blues, the song follows a standard 12-bar blues chord progression: I-I-I-I-IV-IV-I-I-V-IV-I-I, with all 7th chords the majority of the time.

The track opens with a honky-tonk sounding piano trilling into a melodic blues solo, with left hand providing chords. The bass walks through the progression, joining the piano in the center channel. One gently overdriven guitar plays in the left channel, a simple monophonic melody that emphasized the chord progression. Another more overdriven guitar in the right channel plays lead solos.

Again, Clapton’s guitar playing is what makes the song. Not only is his ability to provide soulful leads incredible, he also has a tremendous tone. There are countless articles written about how to get this sound. To summarize: A ’59 Les Paul Standard through a 1960s 45 watt Marshall 2×12 combo amp that was turned up too loud to get that overdriven sound. Clapton would’ve also utilized a Rangemaster treble booster to further drive the leads. The draw of Clapton’s sound is so strong, that Marshall continues to make reissues of these 60s combo amps called “Bluesbreakers.”

Mayall wrote the lyrics in the 12 bar blues format. In a verse, two lines will set the scene by introducing the problem. Then repeat those two lines, sung a little higher to follow the rise in the chord progression. Then two more lines that provide either a twist, answer, conclusion, or response to the first two lines. The second line of each pair rhyme throughout the verses, further tying the final line to the first two.

It’s a mean old scene
When it comes to double crossing time
It’s a mean old scene
When it comes to double crossing time
When you think you got good buddies
They will spin around and cheat you blind

Lucinda Williams’s “Car Wheels on a Gravel Road”

This week, I’ve been listening to Lucinda William’s fifth album “Car Wheels on a Gravel Road” from 1998. I do not recall hearing any of her recordings before, though I definitely heard Mary Chapin Carpenter’s cover of her song “Passionate Kisses.” In 1998, I had only started listening to Dwight Yoakam, and my awareness of country music was slim. This album wouldn’t have appealed to me when it came out, but I liked it immediately listening to it for the first time now. It’s a good blend of country and folk rock that I believe today may get it classified as alt-country. These solid songs achieve being naturally catchy while maintaining a since of sincerity and substance. I find it a challenge to choose three songs to focus, because it excludes the others.

Car Wheels On A Gravel Road

The title track of “Car Wheels on a Gravel Road” plays after the opening track “Right on Time.” The backing band consists of drums, electric bass, acoustic and electric guitar, and a mando-guitar. That’s a new one for me. The mando-guitar combines, as you’d expect, elements of mandolin and guitar. Basically, they build it much like a mandolin with same type of strings, but has six strings tuned to a guitar’s standard tuning. In other words, it allows a guitar player to play a mandolin learning a new instrument. The electric guitar is pushed just past the point of the amp breaking up, giving it a gritty distortion. Williams’s started her career in acoustic country-blues, and a preference for this gritty raw guitar sound makes sense. To me it sounds warm and rocking.

The verses drive through a V-ii-V-ii-V-ii-IV-I chord progression for the first two listen, followed by another V-ii-IV-I for the next line, then V-ii-IV-I again for a refrain. The kick drum and bass give emphasis for each IV-I cadence, letting the IV ring out. This gives that cadence a bit of a stomp after the rolling chug of the V-ii pattern during the vocals. Those are played with a rhythm picking eighth note rhythm with an open strum on the up-beat. This supported by the kick-kick-snare beat on the drums. The chorus brings a stronger IV-I-IV-I chord progression, while the vocals repeat the lyrics of the refrain higher.

The lyrics tell an vague story from a young child’s perspective. Something is happening with at least one of the parents that is beyond the child’s understanding, but requires a long drive in the car. The overall feeling is something stressful and sad. I suspect the parents are separating. The speaker of the song mixes the perspective of the mother and the child that suggests they are both the same person viewing the event from different times. Most of the parent’s view is revealed through quotation, until we get to the line “Could tell a lie but my heart would know.” The passing series of images open to interpretation add to the power of the lyrics. These verses follow a ABAB rhyme scheme followed by a refrain.

Can’t find a damn thing in this place
Nothing’s where I left it before
Set of keys and a dusty suitcase
Car wheels on a gravel road

Drunken Angel

Lucinda Williams’s song “Drunken Angel” tells tale of Austin country singer-songwriter Blaze Foley. He was friends with Townes Van Zandt and they had great influence on each other. Unlike Van Zandt, however, Foley seemed to have bad luck when it came to getting an album released. Apparently he managed to record three of them, but the master tapes were confiscated by the DEA, stolen, and lost. The third one was found after his passing in 1989. The lyrics of “Drunken Angel” use his death as a lens to both praise and criticize Foley. His friend Concho January was a veteran on welfare. Foley confronted Concho’s son with suspicions that he was stealing his father’s pension and welfare; Foley was subsequently shot by Concho’s son. Williams’s song expresses disappointed and anger over how Foley’s life choices got in the way of his own songwriting genius.

Again, Williams uses a lyrics structure of verses that end with a refrain and choruses that repeat that refrain like an anthem, though this time the choruses do include an additional line. These verses also follow a ABABC rhyme scheme. The verses here follow a I-ii-IV-I-ii-IV-ii-IV-I-I chord progression. The choruses then launch into a (I)-ii-IV-IV-I-ii-IV-IV-I chord progression. The title of “drunken angel” applied to both the song and the subject combine both her praise for him as a songwriter and her condemnation of his lifestyle. The use of the word “angel” also conveys that he has passed on, “you’re on the other side.” She further lays this condemnation upon his enabling followers.

Followers would cling to you
Hang around just to meet you
Some threw roses at your feet
And watch you pass out on the street
Drunken angel

Lake Charles

Williams’s friend and former boyfriend Clyde J. Woodward Jr died of cirrhosis. He died while she was on a plane to see him one last time to say goodbye. She wrote the song “Lake Charles” about him. They both came from Louisiana. Early in her career he had been both her boyfriend and her agent. But, as the song tells, wherever they went he felt that homeward pull from Louisiana. Especially, the city of Lake Charles. His friend Margaret Moser was with holding his hand at the end, and she wrote an article for the Austin Chronicle that goes into detail about the song and Clyde’s end. This bittersweet track warmly remembers a friend that has passed. She expertly mixes the sadness with love and care, focusing on the heart while letting the sadness come through between the lines.

This ballad consists of two verses, each with two sets of three lines followed be a three line refrain. After the second verses, there is a bridge with a slide guitar solo, followed by a repetition first three lines of the first verse, then refrain twice. The verses follow a I-V-I-IV-I-V for the first three lines, which is repeated for the next three lines. Then for the refrain, they play IV-I-IV-I-V-I. The second verse brings in some wonderful accordion for atmosphere to recall Louisiana. I often forget how much I love the sound of accordion as part of accompaniment.

The lyrics focus on geography. During the second verse, you can feel Williams riding on that airplane as she recalls their road trips years ago. As seen in that verse, she frequently mentions Lake Charles, which is where he most associated.

He had a reason to get back to Lake Charles
He used to talk about it, he’d just go on and on
He always said Louisiana was where he felt at home
He was born in Nacogdoches
That’s in East Texas, not far from the border
But he liked to tell everybody that he was from Lake Charles
Did an angel whisper in your ear?
And hold you close, and take away your fear?
In those long, last moments

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

Captain Beefheart and his Magic Band’s “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”

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’s “Smell 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’s “Sympathy 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-VII♭-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