I admit it: I like show tunes. I like opera, I like classical music and I like Tin Pan Alley. I like Gilbert and Sullivan and I like The Wizard of Oz. I hate that The Beatles did “’Til There Was You,” but I like The Music Man. So when the inspiration for “Patience on Approval” hit, I decided to see how far I could go with the melodies and modulations that I associate with pit orchestras. Specifically, I decided to admit as many chord changes as the melody might demand. Now, I’m quite proud to have written a pretty good blues song with a verse and a chorus (unbluesy, that) but zero chord changes, namely, “Criminal Character.” But as soon as I received the inspiration for “Pat on App,” I knew that the song would have a lot of chord changes. Continue reading
Hey all, Joseph here. I play drums for Louder Than Dirt and I know DK’s been telling you about the songs on our new album, but I just read something and feel the need to say something about it, especially considering some issues that have been brought into the light here in this blog.
I read an interview with @TheBlackKeys about their new album El Camino, and first let me say how excited I am about it, the single is great and these are two guys who have ground it out for a decade and suddenly have more exposure than they probably know what to do with. But they mentioned something I hadn’t heard and it’s all I can do to keep my hackles down.
John Fogerty, former lead of Creedence Clearwater Revival (maybe you’ve heard of them), released a song called The Old Man Down The Road, which has been played at any baseball game you’ve been to. Put me in, coach! You know the one. Anyway, he was sued by his former label for copyright infringement, because his single sounded too much like a Creedence song.
Now, if you haven’t caught it yet, here’s the funny part – HE WROTE BOTH SONGS.
Music is different from the other arts, isn’t it? “It’s here and then it’s gone,” sings the speaker of “No Expectations,” one of the Rolling Stones’ great ballads. But not quite accurately. I’m not sure that you can capture this quality of music, which is also the quality of our experience of time. Not, first here then gone; only, passingly here. Some of these ideas are in the background of “Marche Pacifiste.” Now I’ve complained elsewhere about the difficulties of discussing instrumental music, but I think that “Marche Pacifiste” actually gives me plenty to talk about. And so I was noodling around on the guitar, or perhaps dumplinging, because I was playing in my beloved mid-tempo (the tempo of “Cathy Ann” and the folk song “East Viginia”) fat chords, not long, skinny lines of single notes. In the key of B no less. And I thought how hymnlike sounded the chords I was playing. And I Continue reading
“I’m Hurting” is probably the most traditional song on Madness and Morals. My Communicative Education partner, Shane http://communicativeed.wordpress.com/, heard it for the first time last night and observed that it sounds like “Elvira” by the Oak Ridge Boys. He’s totally right, I discovered to my consternation. The beat is certainly the same, but then virtually all of what in the U.S. we call “country music” has the bum-chicka bum-chicka rhythm. The melody, at least of the first line or two, is pretty explicitly that of “Mercy, Mercy,” the first song on the Rolling Stones’ Out of Our Heads (1965), but the beat is the old timey bum-chicka. So today’s issue, Dear Reader, is the problem of intellectual property and copyright and ultimately the nature of creativity. On one hand, authors legitimately demand to be recognized for their Continue reading