This week, I’ve been listening to Portishead’s debut album “Dummy” from 1994. I remember how excitingly unusual and new this album sounded when I was 17 years old. This combination of goth, hip hop and jazz came from another world; that dark alien digital world was filled with the smoke and fog of human emotion. In this world, Nine Inch Nails were the rock n roll and Portishead were the jazz-soul. This was my and much of the world’s introduction to the trip-hop genre, though I don’t think the name existed yet. While I spent more time listening to Nine Inch Nails, I definitely enjoyed Portishead as well. I seem to have lost touch with most of these songs over time, only really remember a few of them; It was good to spend a week revisiting, even though I didn’t love it as much as I used to.
The second track, “Sour Times,” provides a great example of what Portishead is about. They built the accompaniment around samples of a late 1960s crime-noir jazz piece “Danube Incident” by Lalo Schifrin. Over of this, they have layered organic instruments and synths emphasizing elements of the original score. Beth Gibbons sings about longing for a former lover who has since gotten married to another.
Cause nobody loves me, it’s true Not like you do
There’s an unusual instrument rises and falls from the back to the front. More percussive than melodic. ; it makes me think of Tibetan prayer wheels, even though they sound nothing like this. It’s quite possibly a cimbalom, which they’ve played in a jangly sinister way. There was something similar in the Schifrin song that sounds more like a plucked violin, or piano strings. It gives the track an non-specific ethnic feel, like some far away culture.
I love the scratching of Ray Charles’s “I’ve Got a Woman” throughout Portishead’s “Numb.” The track showcases some very good performance and songwriting, but it’s the use of a turntable that pushes the song into something fantastic. They use some traditional hip-hop techniques in a more languid broken-hearted way. The original melody gets chopped up slowly, pitches descend, as the heart gives out. This produces a far-off and lonely atmosphere with an instrument normally used for excitement and energy.
The greatest track on the album is definitely “Glory Box.” It rightly closes out the album, sounding like the end-credits of a sci-fi noir film. Portishead built the backing music mostly from “Ike’s Rap 2” by Isaac Hayes. As with other songs, they add their own instrumentation to emphasize or change elements of the original song.
An unfortunate thing that happens throughout this album becomes most apparent to me in this song: the use of samples locks them into a key and especially with a chord progression. Where this has always bother me is the end of “Glory Box.” There’s a bridge where the character of the song changes, a break-down. Then the song returns back to where it was. Had they been using all original instruments, I suspect they would’ve opted for a key-change at the end.
I’ve been listening to Elvis Presley’s “The Sun Sessions” this week. This 1976 album presents a collection of recordings of Presley from 1954 and 1955. Sun released ten of these songs as singles in the mid 50s; His debut album from 1956 on RCA Victor collected some of the others. This is a great collection, even with the less than stellar environment and recording equipment at Sun at the time. Of course, I’ve heard all of these songs in some form or another; If not these Sun recordings, I’ve heard later recordings of the same songs by Elvis and/or cover versions by other artists.
What we hear on this album is some early rock n roll in its youth. The genre did not start with an one single recording, but rather evolved naturally as combination of blues, jazz, swing, gospel, and folk music. Throughout this album, Presley gives us rock n roll versions of songs from the previous decades, further pushing that evolution. Among those is Roy Brown’s “Good Rockin’ Tonight” from 1947, which combined blues and swing in a way that definitely sounds like rock n roll with jazz instrumentation.
Presley was a great singer, guitar, and performer, he was not a songwriter. Depending on who you ask, he only wrote one song: “Love Me Tender.” However, Elvis did not write the music, and the song sounds a lot like the Civil War song “Aura Lee.” He is listed as co-writer on a few other songs, but his actual contribution was probably very little. Still, what he’s done is brought these songs together and played them in this new style, or emphasized that style, in an exciting way. While Presley was an important part of this evolution, he unfortunately gets a lot of credit at the expense of those he drew influence and also worked with. I believe that Presley deserves great recognition, but so do others who were denied the same attention because of their race.
That’s All Right
The album opens with Elvis’s first single, a cover of Arthur Crudup’s rhythm and blues song “That’s All Right Mama” from 1946. Crudup potentially got his chorus from Blind Lemon Jefferson’s country blues song “Black Snake Moan.” Presley’s cover introduced him to much of the world, as it was his first single. I love it, but now that I hear Crudup’s, I think I prefer the original.
Presley’s version opens with strummed acoustic guitar, joined by an acoustic bass. Elvis then sings with energy, “Well, that’s all right, mama, that’s all right for you.” The chord progression repeats I-I-I-I7 for the verses, and then the refrain has IV-IV-V7-I. The bass guitar mostly bounces between the first and up to the fifth note of each chord.
A clean electric guitar plays single note leads during the verses in a country style. However, the electric guitar plays two-notes to open the guitar-solo bridge. There’s not really any intentional bending of strings here, just straight-played notes.
Blue Moon of Kentucky
Probably one of my favorite recordings by Elvis Presley, “Blue Moon of Kentucky” was the b-side of “That’s All Right.” This recording reworks Bill Monroe’s bluegrass waltz of the same name from 1946 as a rockabilly track. I love the sound of the slap-back echo on the vocals, especially the energetic way that he sings them. Again, there’s minimal percussion, just a shuffling of sticks on a surface, with the slap of the upright bass providing additional percussion. The acoustic guitar strums chords emphasizing the a swinging syncopated rhythm.
Presley and the other musicians performed this in the same key, with nearly the same chords, as “That’s All Right.” Here was have I-I7-IV-iv-I-I7-V-I-I7-IV-iv-I-V-V7-I. That’s a few more sevenths, plus a shift to minor for the fourth at the end of the 1st and 3rd line of each verse.
The guitarist plays a solo on a clean electric guitar during the bridge. The solo combines single notes and two notes played on adjacent strings. Again, these are played without bends. There are two bars of playing quick staccato notes on the beat, followed by two bars of syncopated notes.
I really enjoyed Presley’s cover of Junior Parker’s 1953 song “Mystery Train,” which had also been recorded at Sun. While Elvis’s rockabilly version certain rocks more, it loses the emotion of Parker’s electric Memphis blues style. The lyrics of Parker’s song build on a verse of the Carter Family’s folk country “Worried Man Blues.”
The band play a variation of the 12-bar blues progression with a driving railroad rhythm: I-IV-I-I-I-IV-I-I-V-IV-I-I. The bass hits every note, acoustic guitar plays constant rhythm in the background, rising at the end of the bars between vocals. Electric guitar shuffles and swings between the bass adding an urgent syncopated triplet groove.
Train, train, coming ’round the bend Train, train, coming ’round the bend Well, it took my baby, but it never will again No, not again
This week, I’ve been listening to Neil Young’s album “After the Gold Rush” from 1970. Other than the title track, this album was new to me. Growing up, I heard his earlier album “Everybody Knows This Is Nowhere” from my parent’s CD collection. I loved his hard guitar playing style and still do. I remember seeing him play with Pearl Jam on the 1993 MTV Music Awards. I was excited by this mad man that looked like Stephen King’s cousin taking a break from tilling the garden to beat the shit out of a guitar on stage. I still love that wild vibrato-bar abusing solo. The chorus of “Rockin’ In the Free World” repeated in my head for weeks.
“Southern Man” grew on me the fastest, probably because it’s the more rocking track. The song takes the Southern United States to task for the age of slavery and the continued gap between white and black; Even if slavery has ended, the “white mansions” still stand in contrast to the “little shacks.” This because wealthy white families were still living on benefits of the slavery that left black families with a poor start.
The two verses each consist of three rhyming lines, the middle line being a slant rhyme, followed by a non-rhyming two line refrain. The chorus has four lines, two couplets. All of the rhymes consist of monosyllabic words: head/said, last/fast, black/shacks/back, brown/round/down. The voice of the song is that of an outside observer, calling out debts unpaid and hypocrisy.
Southern man better keep your head Don’t forget what your good book said Southern change gonna come at last Now your crosses are burning fast
“Oh Lonesome Me” is actually a cover of a Don Gibson song. Presumably audiences in 1970 would recognize this country song. Neil Young certainly played it much slower, giving it a more lonesome feel. He certainly wasn’t the first or the last to cover it. Elements of Young’s song reminded me of a much later song “Truck On” by Simple Kid from 2003.
The song has a very slow country-blues feel, coming from the acoustic guitar, piano, electric guitar, and especially the harmonica. I just really love the sound of this song. It rolls and hangs, pulling itself a long. The piano here, as on much of the album, is used a rhythm instrument playing chords. The chord progression also brings that lonesome blues feel: I-IV-I-IV-I-IV-I-IV-I-v-I-IV-iv-VII♭-IV-I-I-IV. It’s interesting how that I-V-I-IV section uses a minor v and the IV falls to a minor iv; This makes the typically strong blues progression sound meek and worn, that is.. lonesome. Young’s version feels more raw and vulnerably emotion making the earlier versions seem cautiously upbeat and jaunty.
The title track, “After the Gold Rush,” seems to tell of deterioration of the planet leading to mankind evacuating. Though, it seems more like either a poorly planned escape or an involuntary eviction, since their new home is in the sun. The track opens with tender piano, with a gently bouncing left-hand bassline and syncopated chords on the right. Except for a vocals and eerily sorrowful french-horn solo, the piano is the only instrument on the track. The piano even takes rests, making the accompaniment sparse. This enhances the dreamlike narrative of the lyrics, by allowing focus to fall solely on the vocals.
The middle-verse reminds me of David Bowie’s Ziggy Stardust, especially “Five Years“. Bowie started recording that album a year after Young released “After the Gold Rush.” When Bowie wrote, “News guy wept and told us, earth was really dying; Cried so much his face was wet, then I knew he was not lying,” was he listening to Young?
I was lying in a burned out basement With the full moon in my eyes I was hoping for replacement When the sun burst though the sky There was a band playing in my head And I felt like getting high I was thinking about what a friend had said I was hoping it was a lie
I spent this week with Radiohead’s second album “The Bends” from 1995. This album came out when my senior year of high school was coming to a close. It seems like I heard the song “High and Dry” a bit, but I don’t recall being too aware of this album until the following year. Several of the songs, especially “Just” and “Fake Plastic Trees” became part of the regular soundtrack of my life. It wasn’t so much my choice, though I did love the song. Both Mtv and my friends played “Fake Plastic Trees” with some frequency. Somehow, I managed to not get to know much of this album until this week.
It’s funny how you don’t realize how “of its time” some recordings can be until you listen to them a couple decades later. This album is definitely within the 90s guitar alt-rock genre. Listening to this album made me really realize how influential the Pixies had been on the sound of 90s alternative. I found this especially noticeable in the way the bass is used in these songs. There will be louder sections with drums, guitars, bass, vocals, etc.. and then these will pull back for quieter sections with crispy bass guitar grooves. Anyway…
The song I most know from this album is undoubtedly “Fake Plastic Trees”. In the video, you’ll see singer Thom Yorke riding around the grocery store in the shopping cart. I guess this was just a thing in the 90s, as Jarvis Cocker did it the year before in Pulp’s video for “Common People.” I know there were others, but all I can remember now is an early publicity shot of Marilyn Manson.
Thom Yorke’s quietly strummed acoustic guitar opens the song. Yorke sings sonorously, wet with deep reverb. The lyrics deal with capitalism and artificiality in contemporary society and culture. A sense of humor runs through the lyrics, while they express an emotional mix of disillusionment, emptiness and longing.
A green plastic watering can For a fake Chinese rubber plant In the fake plastic earth That she bought from a rubber man In a town full of rubber plans To get rid of itself
The first chorus repeats the line “It wears her out.” This gets modified to “It wears him out.” in the second chorus and finally “It wears me out” for the third and final verse. I like this use of the chorus as a refrain for verses, altered slightly to match the subject of the verse.
The personal turn the songs takes for the final verse, comes even more raw at the end. Yorke closes “Fake Plastic Trees” wistfully singing “If I could be who you wanted all the time.” This reminds me of the chorus “You’re so fuckin’ special; I wish I was special” in their song “Creep.” He gritted his teeth to sardonically deliver that line in the earlier song, spitting it out more as an insult. But in “Fake Plastic Trees” the line comes out as a painful apology for not being enough.
I came to really enjoy the song “Bones,” which follows “Fake Plastic Trees” on the album. It’s probably the most rock n’ roll track. I really like the use of deep tremolo on the overdriven guitar. With each strum in each verse, they drop the speed of the effect as the chord naturally fades out. They disable the effect for chorus. Still, I’ve found with the Rolling Stones and now Radiohead that I really enjoy guitars through tremolo and rotating speaker. It’s particularly exciting when the rhythm of the strumming is in a fight against the tremolo. This can be heard in “Bones” just before each chorus when they they have the speed up.
My favorite track on the album remains “Just.” The song opens with a particularly 90s acoustic guitar riff, much like we would hear later the same year from Oasis. This style of rhythmic strumming was heard a lot during the decade, probably coming from the Pixies and Boston by way of Nirvana. Radiohead crafted an excellent song here, but what really gets me is the bridge starting halfway into the song. At about 2:28, we hear electric guitar draw the song back in with string noise through tremolo! I would argue that the bridge of “Just” unusually includes another chorus. This comes to a tense climax when Greenwood’s frantically picked ascending lead guitar peaks.. holding a distorted note threatened by impending feedback. The other instruments pull back giving a floating weightless feeling to the moment. Just before feedback overrides the note, Greenwood slides it back and mutes the guitar. A clean guitar brings back the beat of the song with staccato pronunciations. The the band slams us with one last chorus before closing the song by sudden cutting out.
I’ve now listened to fifty of the greatest albums of all time, devoting a full week to each. I revisited albums I’ve loved for years, spent time getting to know I only knew a little, and became acquainted with some that I’d never heard before. What did I think personally and what did I learn over all?
As a songwriter, I learned that there the basic standards of songwriting provide the basis for crafting good songs. Still, there are no hard-fast rules. As long as there’s something the listener can hang unto, rules and standards can be broken, ignored, or turned upside down.
Those basics of pop songwriting include the blocks of Verse, Chorus, Bridge and the common arrangements of those blocks (Intro-Verse-Verse-Chorus-Verse-Chorus-Bridge-Chorus-Coda). There’s no shame in using this tried-and-true song structure or typical variations thereof. It’s not too unlike the structures of plays, movies, novels, or even lectures; You can better engage the listener if the story you tell is built on a structure they know how to follow.
In this way, the structure becomes invisible to most listeners and deviations become visible. In this way, use of an uncommon song structure becomes a part of the narrative, and therefore should support the story in a meaningful way. It doesn’t have to, but it helps.
On chord progressions, I learned something similar. The most common progressions possess a lot of strength. That’s why they are so frequently used. They generally provide a good sense of movement and emotion or drive. Again, there’s no shame in using these. Some of the greatest songs from the greatest albums use some sort of I-IV-V chord progression with the exact song structure described above.
Still, I learned that using 7th chords can add tension or emotion to a song. In addition, some very good songs use some strange chord progressions. Borrowed chords particularly give an emotional change to a song without necessary using a full key-change. The further songs get from typical cadences (like V-I or IV-I), the more they can seem to drift along aimless. This can be used effectively as well.
Regarding lyrics, there are two main things I learned. Of course, these are not all I learned, but I think these are the most important for me at this point. First, I confirmed that narrative songwriting best captures my interest. It doesn’t necessarily have to a full tale, it could just be a vignette of somebody making a sandwich. But through these little stories, some sort of emotional conflict can be expressed. Also, the story need not be even coherent or concrete; rather, ambiguity can add a little mystery as well as more room for the listener to move in. I think this narrative element also relates to the concept of “show-don’t-tell” that was taught in writing classes. Don’t say “she is sad,” but rather show how she moves around slowly with her head down. Don’t tell the audience how to feel, let them empathize with the character.
Secondly, I learned to not be afraid of rhyme, but rather to expand my rhyming vocabulary. Bob Dylan in particular is a master of crafting rhymes. Sometimes he’ll use a typical rhyme, but more often his inventiveness allows the story to be told without drawing attention to the rhyme.
In addition to rhyming vocabulary, it’s good to study poetry and old ballads. As a songwriter, I’m writing words I write are meant to be sung with the accompaniment of music. While it is true that lyrics and poetry are not the same thing, there’s a strong relationship between them. And I think that many of these albums prove that a songwriter wielding the tools of the poet can craft better lyrics. This is not writing to sound poetic, but rather, getting a grasp of how poets use meter, rhyme schemes, line structure, stanzas, refrains, etc. And beyond those physical materials of poetry, how do they use things like narrative, visuals, symbolism, metaphors, and allusions.
First 50 Albums Ranked
So, having listened to fifty albums from a composite ranked list inevitably gives one the desire to give their own personal rankings. So, I did it. I point out that my intention was to mostly rank them based on how much I enjoyed and appreciated them. So, this is a very subjective list. That’s always true, but I’m consciously ignoring how great an album was beyond my own tastes. This is very difficult to do, and I don’t necessarily think it’s that important. Still.. if I ranked these same albums again in a month, the order would be a little different here and there.
Beach Boys: Pet Sounds
Bob Dylan: Blood on the Tracks
Rolling Stones: Exile on Main St.
Bob Dylan: Blonde on Blonde
Rolling Stones: Beggars Banquet
Beatles: Abbey Road
Beatles: The Beatles (White Album)
Bruce Springsteen: Born to Run
Rolling Stones: Let It Bleed
Beatles: Rubber Soul
Van Morrison: Astral Weeks
Bob Dylan: Highway 61 Revisited
Patti Smith: Horses
Prince and Revolution: Purple Rain
Fleetwood Mac: Rumours
Jimi Hendrix Experience: Electric Ladyland
Smiths: The Queen is Dead
Television: Marquee Moon
Aretha Franklin: I Never Loved a Man The Way I Love You
This week, I’ve been listening to The Rolling Stones album “Beggars Banquet” from 1968. This is the third of their albums I’ve had for my weekly albums. “Exile on Main Street” and “Let It Bleed” each had their turn earlier this year. As I mentioned before, I chose the Beatles over the Stones when I was young. However, I feel for “Exile on Main Street” pretty hard when I was about 30 years old. There’s some tremendous cuts on “Beggars Banquet” as well. I’ve heard several of them over the years, especially “Sympathy for the Devil.” But now some of the whole album has grown on me and some of these songs are now great favorites.
The famously controversial cover image of a bathroom wall, includes some graffiti that says, among other things “Bob Dylans Dream” with an arrow pointing to the toilet handle. I wonder if this is a joke on Dylan’s line “the pump don’t work, because the vandals took the handle” that closes his song “Subterranean Homesick Blues.” Either way, the mention of Dylan is importantly telling; These Rolling Stones songs frequently offer snapshots of contemporary society and culture in a rather Dylan way. Also, musically the way they strum the acoustic guitar in some of these songs shows that they’ve been listening to some of this recordings.
“Jigsaw Puzzle” provides a more obvious example of Dylan’s influence on the Stones. Acoustic guitar strums repeats a V-IV-II-I chord progression four times for the verse, and then plays I-II-IV-V-V-IV-IV-V for each chorus. A bright slide-guitar manically slides up the neck mimicking the slide guitar in Dylan’s song “Highway 61 Revisited.”
I enjoy how they play these verses. All instruments except drums and bass rest during the first line, and then each guitar comes back in as the verse progresses to the chorus. This gives the feeling of rising intensity. In this way, also, they treat the chorus more as a refrain in the balladry tradition than as a rock n roll chorus. Though the lines incorporate some rhyme, they don’t follow a strict rhyme scheme as Dylan would; They frequently abandon rhyme altogether.
The lyrics paint short vignettes of characters walking about in the world of the song, as often seen in Dylan songs, especially “Desolation Row.” There’s the story of so many things going on in the world: issues, conflicts, corruptions, etc. These are vague passing references to the sociopolitical climate, like skimming newspaper headlines when you just want to read the comics. The speaker is cut-off from these other characters and their interactions with each other. He’s just “trying to do [his] jigsaw puzzle.” However, though they incorporate some rhyme,
There’s a tramp sitting on my doorstep Trying to waste his time With his methylated sandwich He’s a walking clothesline And here comes the bishop’s daughter On the other side She looks a trifle jealous She’s been an outcast all her life Me, I’m waiting so patiently Lying on the floor I’m just trying to do my jigsaw puzzle Before it rains anymore
The Rolling Stones’ “Sympathy for the Devil” remains one of the most undeniable recordings of the 1960s. In addition to the amazing music and performance, the song features great lyrics about the evil running through history and culture. This week, I also watch the not-so-good documentary by Godard, “Sympathy for the Devil” which follows the band through the development of the song. I can’t recommend the movie, but it was neat to see them recording early versions of the song before they knew how they were going to play it.
The verses follow I-II-IV-I chord progression. The choruses rises up to V-I-V-I. For the first verse, the piano plays chords on the first beat of each measure, along with the bass playing the root note. With the second verse, the bass picks up more of a driving shuffling rhythm, still mostly on the root note of each chord. With each verse, the piano gets more active with great rhythm-and-blues rhythms. This is all accompanied by layers of Latin rhythms played with a variety of hand percussion.
After the second chorus, vocals repeating a “hoo-hoo” chant continue through the rest of the song. These backing vocals sing the tonic chord I throughout the verses. They change only for the chorus, rising up to the V chord along with the rest of the accompaniment. I’m not really sure why, but this chant contributes to the driving feel of the song.
A menacingly sharp electric guitar solo plays during after the third chorus. This overdubbed guitar sits right in front, fuzzed and bright. While it’s definitely a blues-inspired solo, it mixes held notes with staccato stops. With the lack of reverb or delay, the rests are hard and just as cutting as when the guitar plays notes.
“Street Fighting Man” may be the song I played the most this week. It makes uses of the typical three rock chords, though the order is sort of flipped for the verses. Normally we’d see a I-IV progression, but instead these verses have IV-IV-IV-I, even though the intro gives us I-IV. The chorus changes key to the V of the original key for a I-I-I-V chord progression in the new key. These leads to a post-chorus that rather-floats on the II chord (V of the new key) of the original key to drop back to the original key.
The song opens with Keith banging out the chords on an acoustic guitar in one channel. He famously acquired the sound by recording the guitar on a portable tape cassette recorder. The guitar was too loud for the little machine, overloading the mic input, the tape, or probably both. This serendipitously created a warmly distorted acoustic guitar. This is joined by a more cleanly recorded acoustic guitar in the left channel. There’s later some great subtle play back and forth between these two guitars.
The drums play a strong simple beat, emphasizing the 2nd and 4th beat like a march to accompany lines like the opening “Everywhere I hear the sound of marching charging feet, boy.” The verse and choruses are rocking, hard, and driving. They create this force with double-tracked acoustic guitars, hard-driving drums, rolling piano, and a simple-yet-effective bass guitar line. The post-chorus adds contrast with sitar and syncopated melodic piano creating a floating feeling, as the song finds its way back to the tonic.
Well now, what can a poor boy do Except to sing for a rock n’ roll band? ‘Cause in sleepy London town There’s just no place for a street fighting man, no.
EDIT: Updated the embedded videos, as ABKCO records just posted some great lyric videos on youtube.
I dedicated this week to listening to The Beatles‘ sixth album “Rubber Soul” from 1965. Of course, I’m well aware of the Beatles. My tastes, especially since a teenager, was for their later work from 1967’s “Sgt. Pepper” on. I thought I wasn’t quite so familiar with “Rubber Soul,” but some of my favorites are on this album as well. With so many great songs, it’s difficult to choose only a few songs to focus on.
One of the most noticeable things about “Rubber Soul” on a whole is the hard-panning. During this period, albums often saw both a mono and a stereo release. The mono mix was given more care and attention, often bands like the Beatles were present and involved in the mono mix. The stereo mix was considered by some to be unnecessary, a slight variation of the mono, or worse, a gimmicky trend.
I’ve seen two main reasons given for the Beatles stereo mixes using hard panning (each track (instrument) is completely in the left, right, or center.) Limitations of the studio equipment provided the first reason. Up until the late-60s, mixing consoles had a three-position switch for panning: Left-Center-Right, or LCR.
Another reason came from concern of playback equipment and what might happen if the stereo record was played on mono equipment. This second reason lead to the Center position being avoided. One “Rubber Soul” everything is either Left or Right. So, if the two channels were summed together as mono, the mix levels would be preserved. That separation ccan sound nice in a room with wells-spaced speakers; However, it’s a very strange feeling in headphones to have the center be a void and everything is right in one ear or the other.
The album’s second track “Norwegian Wood (This Bird Has Flown)” is a slower folk-rock song in ¾ time with Indian influence. Not only incorporate influence from music of India, it was also the first rock song to feature an actual sitar rather than just imitating the sound with guitars. George Harrison had a genuine interest in Indian music and culture, which had an influence on much of his work.
Lennon’s lyrics about a less-than-satisfying love affair perhaps don’t reflect any sort of connection to the Indian flavor. Though there is a sense of exotic strangeness to the girl’s house, which can be like being a stranger in a foreign land. Apparently the last verse is about burning her house down, but it’s so vague it’s difficult to say. Though, knowing that Lennon has used the phrase “Norwegian wood” to refer to cheap wood paneling helps a little.
And when I awoke I was alone
This bird had flown
So I lit a fire
Isn’t it good Norwegian wood?
The intro and verse probably have no real chord progression, but rather stay in the I chord continuously. At the very least a chord progression of I-v7-IV is implied by the melodic riffs. In this way, the accompaniment further imitates drones heard in Indian music. The sitar plays a riff in the left channel, which doubles the melodic portion of finger-picked acoustic guitar in the right channel. The same melody is almost completely followed by the vocal melody.
I have loved the Beatles “Nowhere Man” as long as I can remember, so definitely since I was a young child. It’s one of those songs that can be appreciated at any age. Gershon Kingsley recorded a great instrumental version of the song using Moog synthesizers that I have adored since first hearing it about 15 years ago. I love the sounds Kingsley has designed for the song, but I also really like the melody of this song. Again, the focus of most Beatles songs is the melody and the accompaniment supports that melody.
The Beatles keep the instrumentation pretty simple on this track. In the left channel, we have drums, bass, acoustic and electric guitar. The acoustic guitar strums through a I-V-IV-I-ii-iv-I-I chord progression for the verses and iii-IV-iii-IV-iii-ii7-ii7-V7 for the chorus. I especially like that sound of the iii-IV-iii-IV part of the chorus. Still, though this is not a common chord progression, the acoustic guitar strumming pattern definitely is. The bass guitar, as I’ve noticed in several Beatles songs, plays the most interesting part of the accompaniment. McCartney gives the music a groovy counterpoint to the vocals.
The electric guitar in the left channel mostly plays small melodic riffs during the short pause between verses. Another electric guitar in the right channel plays a solo after the first chorus. Backing vocals are also in the right channel, going ‘ahhhh, ahhhh, la la la’ during the choruses and doubling the lead vocal during verses.
I recognized during the week that one of my favorite tracks “I’m Looking Through You” sounds the most like a Monkees song, and I do love the Monkees. The bit after the chorus gets my attention. Right after they sing “I’m looking through, you’re not the same!” The organ and electric guitar pick up in energy getting a little louder and driving. The organ hits two chords along with the guitar and then guitar continues with a pattern of rapid notes. This interaction adds great energy to the song.
The percussion for the song consists mostly of Ringo tapping his fingers on a box of matches. There’s a few instances of tambourine, which seem to have perhaps been played in the background and picked up by another microphone. During the post-chorus sections, Ringo also plays a minimal but effective pattern on the drum kit.
“Rubber Soul” deserves more praise among Beatles albums. I liked this album far more than “Revolver.” But, I also like “Abbey Road” more than “Sgt. Pepper“. Anyway, this was definitely another great album and one I’m glad I’ve gotten to know better. I’ll continue listening to this one for years, I’m sure.
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.