Eyes That Can See in the Dark

a music journal
 

October 31, 2006 (link)

7:08 PM

Happy Halloween, and remember: if you're on a foreign path, then let me do the lead.

Current music: 92442-2, 6:33.

(Comments for October 31, 2006)


October 17, 2006 (link)

8:19 PM

A while back, this place had a thread that was something like "Name a song by Band A that Band B pretty much based their whole career on". For instance, "Surf's Up" and the High Llamas, say, or Blondie's version of "The Tide is High" and Ace of Base. (OK, maybe those are both kinda crappy examples.)

Anyway, it occurs to me that "I've Just Seen A Face" = Simon and Garfunkel. This is by no means an original thought; it'd probably been had tens of thousands of times before I was even born. In fact, I wouldn't be surprised if, in the history of FM radio, at least a thousand request-line callers have asked for "that 'falling, yes I'm falling' song by Simon and Garfunkel".

7:39 PM

An awesome discovery I made recently:

On her website, Carla Bley has put up lead sheets of many of her compositions, in PDF format. What can I say but: "Paws Without Claws"! "Sex With Birds"! Awesome!!

The real revelation for me was "Crazy with You", which has what one of my professors would call a "D8-1 subliminal displacement dissonance" throughout. In other words, all of the phrases are displaced backwards by one quarter note from where I've always thought they were -- and I had no idea, really, that there was anything of the sort going on in the piece: I thought all of the phrases coincided with the barline.

It's very much like certain things that happen in Schumann, whose work I've been studying a lot this fall, and who has at least one piece ("Des Abends") that features a subliminal dissonance from the very first bar all the way to the last. Unlike Schumann, however, I already know "Crazy With You" so well that I can't really encounter it afresh and "rehear" the barlines. And in truth, I'm not convinced that it's possible to do so (though I think I'll cue up "Night-Glo" and give it a shot).

Oh, and while you're at it, gimme five. I've been walking around with this in my head for a week. I wish I had a falsetto like Bob's -- no, more accurately, I wish I had phrasing like Bob's. That slow vibrato!

(Doesn't Luis look a little stiff up there, somehow? His upper body isn't rotating, or something. I wonder how much of it is lip-synched? And: "Hello. I'm Bob!" Could Bob be any more Bob?)

Current music: Led Zeppelin - "Fool in the Rain"

(I'll admit it: I used to think this song was a silly sell-out, but now I think it's great. It's the perfect blueprint for what Led Zeppelin needed to do with themselves once Plant's voice changed. And those lyrics: "And if you promised you'd love so completely / And you said you would always be true / You swore that you would never leave me, baby / Whatever happened to you?" I love the way he sings that last line, it manages to be both direct and good-natured, somehow. And yes, the drum fill after the samba breakdown is near-perfection.)

(Comments for October 17, 2006)

 

Current reading:

Fantasy Pieces, Harald Krebs

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