Tag: rock

Gentle Giant | Proclamation (fan version)

“The Power and the Glory (1974) is, like Three Friends before it, a concept album featuring intricately woven arrangements … ” (Progrography.com). “You’ll also find quite a few ‘classic’ Gentle Giant songs … (including ‘Proclamation’) … Alternating between soft and harsh sounds, it’s an album of dreams and nightmares.

At this stage, there’s no denying that the band’s music had become, if not formulaic, at least idiosyncratic. There are the dizzying arrangements, classical excursions, heady subject matter and heavy rock all intertwined into four- and six-minute musical puzzles that are unique to Gentle Giant. I’d recommend you start with Octopus and Three Friends first, as they arrived earlier and achieved the same (or higher) highs … As the years have shown, albums about corrupt, power-hungry politicians are never out of fashion for long.”

The tune is built in D dorian until 2:07, when a huge unprepared shift to a Ab major chord drops like an anvil. But it’s not until 2:16 that we settle properly into the new key of F dorian. A few more harmonic shifts follow, but are often dwarfed by unexpected changes in meter, sudden instrumental/textural changes, imposing walls of tightly clustered vocal parts (3:25, for example), etc. As the extensive end credits of the video show, it took scores of fans of the storied UK-based prog rock band to create a cover version (2020) of this densely complex track!

From the video’s description: “This video marks the first time in 40 years that all members of Gentle Giant appear on screen and play together in a ‘virtual reunion’. Some notable contributors also make an appearance such as Jakko Jakszyk of King Crimson, Billy Sherwood of Yes, E.L.O. bassist Lee Pomeroy, Dan Reed of the Dan Reed Network, Richard Hilton of Chic, and Mikey Heppner of Priestess.”

Frank Zappa | Dancin’ Fool

“The disco era that brought us Saturday Night Fever, spoons on chains, and satin everything spawned an unintentional subgenre: ‘disco sucks’ music,” (MixOnline). “Rockers laughed and cheered for Steve Dahl’s parody of Rod Stewart’s ‘Da Ya Think I’m Sexy’ (‘Do You Think I’m Disco?’ 1979), and for that brilliant iconoclast Frank Zappa’s first bonafide hit, the #45 song ‘Dancin’ Fool.’

‘Fool’ debuted in the artist’s live set in 1975 and was first captured as a concert recording, but the song didn’t appear on record until he reworked it in The Village Recorder with the help of his then-engineer, Joe Chiccarelli (1979). ‘The live basic tracks were recorded by Pete Henderson, who produced Breakfast in America for Supertramp—I think with the Record Plant Remote truck,’ Chiccarelli recalls. ‘Frank felt at the time that his band played great live, so he loved the feel of the drum tracks, but 80 to 90 percent of the work, including the mix, was done at The Village, mostly in Studio A.'”

Perhaps just as much as his one-of-a-kind compositions, blistering guitar work, and precision bandleading, Zappa is best known as having been an astute social commentator — and his editorial on the burgeoning disco scene of the late 70s was certainly no exception. The tune’s intro and verses are built in A major, but the choruses are in C# major (starting with the short pre-chorus, heard for the first time at 0:25; the chorus begins in earnest at 0:29). At 0:54, we return to the original key for the lead-in to the next verse via a boisterous unprepared modulation. The pattern continues from there. Zappa played a hilarious prank with this track: while the tune was moderately danceable overall, the “IMayBeTotallyWrongButI’mA” interjection (1:54 and 2:56) adds a full beat to each line of the chorus where it appears, providing more awkwardness than most dance floors ever asked for.

Ozzy Osbourne | Ordinary Man (feat. Elton John)

“Ozzy Osbourne … helped forge the sound that became known as heavy metal – and on top of that, the frontman practically invented the image of the wild rock star,” (BBC). “Ozzy’s band Black Sabbath made an indelible mark on music by pioneering heavy metal – and was hailed as a major influence by a range of artists who followed. With his wailing vocal style and ‘prince of darkness’ reputation, Ozzy led the band to become global stars – before he was fired, mainly because of his increasing dependency on drugs and alcohol. But he carved out a successful solo career before reuniting with the band, as well as becoming the unlikely star of a hit TV reality show which showcased his erratic domestic life.

He was born John Michael Osbourne in the Aston area of Birmingham (in) 1948. His father Jack was a toolmaker, while his mother Lillian worked at the Lucas factory, which made car components.” He seemed destined for a life at hard labor, starting his work life in a slaughterhouse. “What saved Ozzy was music: the sound of the Beatles singing ‘She Loves You’ out of a crackly transistor radio transformed his life. ‘It was such an incredible explosion of happiness and hope,’ he later told writer Bryan Appleyard. ‘I used to dream – wouldn’t it be great if Paul McCartney married my sister.'”

After layer upon layer of medical issues accumulated for Osbourne over the past few years, ” … he was determined to bow out of the public eye with a customary bang. He, (wife) Sharon, and his old Black Sabbath bandmates lined up a farewell concert at Villa Park football stadium, a stone’s throw from his childhood home, which took place just over two weeks ago. An array of fellow rock legends – including Metallica, Guns N’ Roses and Aerosmith’s Steven Tyler – lined up to perform and pay homage to him and Sabbath’s influence. Osbourne himself performed seated because of his mobility problems, but managed to recapture his old magic – belting out his hits while clapping, waving his arms and pulling wild-eyed looks, just like old times. ‘I’m proud of what I’ve achieved with my life,’ he once told an interviewer. ‘You couldn’t have written my life story if you’d been the best writer in the world.'”

Osbourne’s 2020 release “Ordinary Man” found the artist looking back both fondly and wistfully a full five years before his death today at the age of 76. With an assist by Elton John on piano and vocals, the track also features Slash on guitar, Duff McKagan on bass (both of Guns N’ Roses), and Chad Smith of the Red Hot Chili Peppers on drums. The tune was co-written by John Osbourne (Ozzy), Elton John, Andrew Watt (who also produced the track), Chad Smith, Duff McKagan, and Billy Walsh. This classic power ballad, lushly produced relative to Osbourne’s catalog overall, starts in E major. There’s a shift to B mixolydian for the chorus, first heard at 1:22 – 2:00. The pattern continues from there. Ozzy watches the compilation of photos and videos right along with us, making it a poignant experience for even the most casual of his fans.

Them | I Can Only Give You Everything

“It’s hard for some people to believe that the soulful romantic who wrote and crooned ‘Have I Told You Lately That I Love You’ was the same guy who had salaciously screamed out the letters ‘G-L-O-R-I-A,’ (DJ MJD’s Back Tracks). “Nevertheless, Van Morrison was indeed the singer and harmonica player in Them. The band — which took its name from a science fiction movie about gigantic irradiated ants — was from Belfast in Northern Ireland, but here in the U.S. they got lumped in as part of the “British Invasion.” And, like The Animals and The Rolling Stones, they did cover a lot of American blues and R&B standards. However, they also recorded several songs — including the aforementioned classic, ‘Gloria’ — that were templates for what would come to be known as ‘garage rock.’ 

‘I Can Only Give You Everything’ (1966) succinctly combines youthful exuberance and sarcastic arrogance. It also sounds like a twist on the old jazz/pop standard ‘I Can’t Give You Anything But Love’ … writer Richie Unterberger describes (it) as ‘one of his [Morrison’s] toughest, most snarling vocals ever, and indeed one of the snottiest vocals of the entire British Invasion… an utterly convincing mixture of aggressive and desperate pursuit of affection’ … In the 60’s, it was recorded by numerous bands, most notably The MC5 (it was the group’s first single) … That fuzz tone guitar riff took on a life of its own in 1996, when Beck used it in the song ‘Devil’s Haircut.'”

Starting in G mixolydian, the track features an accompaniment that pretty much amounts to percussion and a bass line which jumps upwards up by fourths (spelling out the first, fourth, and and flatted seventh of each chord). At 1:41, the tune shifts up by a half step to Ab mixolydian.

Traffic | Many a Mile to Freedom

“Somewhere in Steve Winwood’s career, between the blue-eyed teen soul of ‘I’m a Man’ and ‘Gimme Some Lovin’’ to the made-for-the-80s albums of Arc of a Diver and Back in the High Life came a little bit of exploration,” (Music Street Journal). “He recorded with percussionist Stomu Yomash’ta and Mike Shrieve as Go, and Traffic’s version of “John Barleycorn” was a landmark in the then-popular folk-rock era. But as Traffic had its on-again off-again moments, the band was able to put out some great music, perhaps none better than this album. Besides the usual trio of Winwood, Jim Capaldi, and Chris Wood, bassist Ric Grech (another ex-Blind Faith member), uber-musician Jim Gordon, and percussionist “Rebop” Kwaku Baah … filled out the sound considerably. Fortunately the songs and arrangements knew when to open up and when to pull back. The result is a classic of the early ‘70s that still sounds fresh.”

On “Many a Mile to Freedom” (1971), “Winwood’s electric piano holds down the fort while Wood again offers some delicate lines on his flute. The guitar counters with some nice, simple arpeggiated lines on the between-chorus-and-verse space. There’s an extended ending here where the band locks into a good, relaxed groove.”

Various flavors of the C scale (shifting between major and minor) predominate the track, starting with the first verse (beginning at 0:21). Starting at 4:20, Bb major holds sway with a I and bVII chords alternating. At 5:12, we’ve returned to the tonality of the first section of the tune.

Tommy TuTone | 867-5309

“Who here remembers Tommy Tutone’s ‘867-5309’? The 1982 radio staple once gripped the nation, and gave away the digits of the fetching Jenny, last name unknown … Spencer Potter, the New Jersey owner of (201) 867-5309, auctioned off the telephone number, along with his DJ company, netting $186,853.09 on eBay. ‘This is really, in my opinion, one of the last cultural remnants of 80s pop,’ Potter told CNN, ‘other than the mullet.’ Potter said he received over 100,000 phone calls a year from overzealous fans.

… Why is the song so valuable? ‘The sound of the number has a certain hypnotic quality, and I’m not sure what it is. It must be something in the number itself,” Tutone told the Wall Street Journal.” (American Songwriter).

Built in a noticeably de-tuned G minor overall, the tune’s short bridge (1:59 – 2:13) shifts to the closely related key of D minor.

Heart | What About Love

“This was Heart’s first single under their new contract with Capitol Records,” (Songfacts). “It marked a turnaround for the band, which after a triumphant run of hits in the ’70s got off to a rough start in the ’80s with a decline in sales and little airplay for their new material on radio or MTV … It was written by Brian Allen and Sheron Alton of the Canadian band Toronto, along with Jim Vallance, who co-wrote many of Bryan Adams’ hits. The song was written for Toronto but they didn’t record it. The demo found its way to Heart, which turned it into their first Top 10 US hit since their cover of ‘Tell It Like It Is’ in 1980. Their next two singles did even better: ‘Never’ hit #4 and ‘These Dreams’ went to #1.

The video was directed by David Mallet, who was known for avante-garde videos like David Bowie’s ‘Ashes To Ashes’ and Queen’s ‘Radio Ga Ga’ … It was the first Heart video to get significant airplay on MTV (and) was the first Heart song to chart in the UK, where it reached #14.”

Built in D minor overall, the 1985 track features a very late shift to the parallel D major at 3:12.

Grateful Dead | Let Me Sing Your Blues Away

“The self-produced Wake of the Flood … originally came out in October 1973,” (Americana Highways). “… when you compare Wake of the Flood with the group’s most recent previous studio efforts, 1970’s Workingman’s Dead and American Beauty, those earlier LPs found the group forsaking extended psychedelic jams and improvisation in favor of succinct, country-flavored rock statements that relied heavily on vocals and acoustic instruments.

You’d never describe Wake of the Flood that way, which is not to say that it takes off in a wholly new direction. Yes, there are horns and there’s also more jazz influence as well as funk and ragtime, but the album is less of a reinvention than a vinyl presentation of the sort of music the Dead had been performing in concert for years. It also retains some elements of earlier studio albums.”

“Let Me Sing Your Blues Away,” the second track on Wake of the Flood, features an consistent level of intensity throughout, which seems to be one of the band’s trademarks. There are no buildups, no quiet bridges, no intense shout choruses … rather, an eternal “now” for which the band was well known. But a more unusual quality of the track is its frequency of unconventional, generally unprepared key changes. After a start in Bb major, there’s a cavalcade of unceremonious keys of the moment starting at 0:50 leading into a section in A major at 1:15, B major at 1:30, C# major at 1:45, and some frequently shifting key of the moment connective tissue leading to a return to Bb major at 1:56. Finally, here’s a shift to G major at 2:21 and a chromatic lead-in back to Bb major at 2:47.

Derek + the Dominos | Bell Bottom Blues

“Layla and Other Assorted Love Songs (1970) is Eric Clapton’s tortured love letter to the wife of his friend, George Harrison … Clapton poured his heart into the songs on Layla,” (American Songwriter). “The five co-writes with (Derek + the Dominos bandmate) Bobby Whitlock – songs like ‘Anyday’ and the bluesy ‘Tell The Truth’ – fuse high-energy rock with some of the most emotional electric blues of all time … Clapton would never again present the blues with such urgency as on the album versions of ‘Nobody Knows You When You’re Down and Out’ and the Big Bill Broonzy staple ‘Key to the Highway.’

‘Bell Bottom Blues,’ the only song on the album Clapton wrote entirely by himself, is a portrait of a man on the brink of collapse. After the record’s release, Clapton sank into depression and addiction. As Whitlock recalls, one of the great all-time rock and roll bands ‘didn’t break up, it just kind of dissipated … Eric locked himself away for a couple of years, and that was that.'”

Starting in a slightly de-tuned C major, the tune shifts up to A major for its plaintive chorus (heard for the time between 0:41 – 1:16). Verse 2 reverts to the original key. The pattern continues from there.

Thank you, Sly Stone (1943-2025)

“Sly Stone, the remarkable, eccentric frontman, singer, songwriter and producer of his family group, Sly & the Family Stone, died in Los Angeles on Monday, June 9,” (NPR). “The musical icon had been battling lung disease, according to a statement provided by his family. He was 82. ‘While we mourn his absence, we take solace in knowing that his extraordinary musical legacy will continue to resonate and inspire for generations to come,’ the statement reads.

… Sly & the Family Stone’s sound was a dazzling fusion of psychedelic rock, soul, jazz, gospel and Latin … The Grammys gave him a lifetime achievement award in 2017 … Sly Stone was a musical visionary whose charismatic stage presence and distinctive vocals are now woven into the fabric of American joy.”

~~~~~

We reprise a post from 2020 in honor of the life of Sly Stone, covering a track which is among the Family Stone’s most affirming and joyful:

Sly & the Family Stone “harnessed all of the disparate musical and social trends of the late ’60s,” AllMusic explains, “creating a wild, brilliant fusion of soul, rock, R&B, psychedelia, and funk that broke boundaries down without a second thought. Led by Sly Stone, the Family Stone was comprised of men and women, and blacks and whites, making the band the first fully integrated group in rock’s history. That integration shone through the music, as well as the group’s message. Before Stone, very few soul and R&B groups delved into political and social commentary; after him, it became a tradition in soul, funk, and hip-hop.”

Released in 1968, “Stand” is just one of a full line of unusual singles from S&TFS, not easily described by the vocabulary that preceded them. AllMusic continues: “Like Brian Wilson, Sly Stone incorporated beautiful, magical moments on his records that were some of the most musically progressive. In this song, a simple but brilliant four-on-the-floor drum pattern and gospel vocals create what would be the virtual blueprint for what was to become known as disco. Moreover, the song is yet another message song that helped bridge the gap between the black and white rock audiences…one of the most timely records of its age.”

The verse is built around a de-tuned Ab major (I / IV / I / bVII); the bVII major serves as a sub-V for the new key of F major (0:14), repeating the same pattern for Verse 2 (0:28) before reverting to Ab for the one-word chorus (0:51). Each switch from Ab to F is accentuated by a 2/4 bar among the overall 4/4 meter (heard for the first time at 0:13 – 0:14). An entirely new groove, built around a 4-bar pattern, kicks in for an extended outro in C minor at 2:18. The outro is a joyful, uproarious shout chorus featuring multiple vocalists on a repeated wordless vocal hook, instrumentalists playing at full tilt, and gospel-style eighth-note claps building on the already high energy — just as the slow final fade kicks in.