A few Wrap-up Comments From Poignant Santa
Interesting the Halloween connections to Some Are. I would agree that it is scary - another of these bonus tracks from Low actually wound up on a Halloween compilation.
Caroline Says 2 was actually the first one 'in' on the Poignant Santa - in answer to Dan's question.
And for Cory...you are not the only one to have wondered about Reed's singing style.
I totally agree about the cheesy saxamaphone in Thorn In My Side - in the end - I liked the feeling of the song too much to leave it off.
I am really glad that Dan likes 'We Live Again' - I knew Aaron would.
Go Miles - buy like the wind - I'd be interested to hear what you think about those albums if you do buy them.
Aaron: that part in A Most Peculiar Man that left you cold....just think how cold it made the Peculiar man Feel. We have daughters and wife. Warm. The Peculiar Man was alone, in a room, and very cold.
Interesting, Miles threatens violence on what he feels is an incomplete song, but Aaron feels it is NOT an incomplete song. The End of The Spoon - is it complete or incomplete? Mystery One. Mystery Two would be the exact lyric to 'Some Are.'
Gwen is very very very very hot! Though I agree with Mixdorf - she has taken a nose-dive musically from No Doubt to her fashion-oriented high school fightin' solo career.
Thanks all for listening and for the comments!
posted by Mighty Tom at 9:11 AM
8 Comments:
A Most Peculiar Man, it is one of those things that In feel I should be able to get over, but can't. A similar situation with "Silent All These Years" and the way "What's so amazing about really deep thoughts" doesn't quite fit rhythmically.
BTW, SIWHI: "Isn't it a Pity"
What sayeth Aaron about Peach on a Leaf. That song's the rhythmic equivalent of insanity.
On both points:
- Interesting, I am a strict bastard when it comes to being critical of pacing, when it doesn't seem to fit a meter, but that moment in "Silent All These Years" (Tori Amos) never bothered me.
- While have a history of challenging Gibbs on pacing, which is how you use words to fill up bars in your song, it is a different thing than time signature, which is strictly the framework of the bars themselves. "Peach on a Leaf" is a time signature thing which varies frequently, often inexplicably, from 5/4 to 4/4. "Frog" was similar in that respect. Confusing to learn as a musician, but once you do it seems to make sense. Pacing issues, when they bother me, often never quite resolve themselves in my head.
So Tori Amos and Paul SImon didn't change time signatures inexplicably, in the middle of that bar?
By memory, I recall Tori Amos' instrumentation & beat staying in 4/4 throughout that section-she just jams a bunch of words over the top.
Listening to the Paul Simon section now...nope. Also standard rock n' roll 4/4. Try this: Drum or hum/sing beats of four with an accent on the 2 and 4: da-DA-da-DA during either of the two songs. Getting going so you're in the rhythm as the sections approach and hang in there while the words seem to slide around a bit. At the end of the passages in question, you'll find that you're still riding along on the crest of the beat.
I understand how it works.
"Peach on a Leaf" is the da bomb. The story of "Peach on a Leaf" shall never be repeated (I hope).
Dan, great explanation on "Silent All These Years." One note, I otherwise love that song.
On "A Most Peculiar Man," it is not a rhythm thing that bugs me, but it is similar in the way I feel I should be able to get past it, but can't.
Sorry, Mixxy. Didn't mean to insult. I wasn't clear whether in your next to last comment you were implying you didn't understand the exact meaning behind time signatures...
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