The Kinks' Low Budget

This morning I listened to the Kinks' Low Budget (I think for only the second time), and I noticed some things.

"Catch Me Now I'm Falling"

In order to musically represent the falling, there are some "down"s and "falling"s sung with descending melismatic phrases.

There's also a lyrical mirroring in the song's structure.  Twice, after the line "you've gone out of town," there's a guitar solo instead of more lyrics right away, which helps to demonstrate that absence and lack of communication.

"Public Health"

Instead being pronounced with the single syllable, the "strain" in the line "Cos' it [exercise] relieves the strain" is sung to four (with the notes B, A, F#, E).  There's a looseness with which it's sung (as opposed to spoken), which recalls and emphasizes the earlier lines "Loosen up your muscles / And feel the knots in your body untie."

"Moving Pictures"

After four measures of drums, there's a guitar figure that repeats, lasting nine measures.  After the line "Nothin' in life is a permanent fixture," that figure is raised a whole step (instead of C, G, A, C, it's D, A. C. D).  To some degree, that recurring figure's changing reflects the line it follows.  While it's just a transposition rather than a melodic alteration (so it retains some semblance of what it was), it does also seem to represent the "moving" in "Moving Pictures."

The Mamas & the Papas' "No Salt on Her Tail"

Last night I listened to the Mamas & the Papas eponymous second album, and I noticed a couple things about "No Salt on Her Tail."  During the first instance of the "This little bird..." section, the "away" in the line "She can fly away" has a melisma.  It's sung to an F, F, D, C phrase.  That's more than the two syllables with which "away" is normally pronounced, so it gives a sense of the movement in the bird's flight.

In that section "away" is rhymed with "stay" (the lines are "She can fly away" and "No cage to make her stay").  The "make her stay" is all sung to the same note (an F), so again there's a mirroring of the lyrics in the music.  Where "away" is sung to multiple notes and suggests movement, the phrase in this line about being stationary is sung to a single note.

This section is repeated near the end of the song (raised a half-step, which I hadn't realized until figuring out the vocal melody), but not all of these features are still in place there.

Colin Blunstone & Rod Argent's Live at the Bloomsbury Theatre, London

To-day I listened to Colin Blunstone & Rod Argent's Live at the Bloomsbury Theatre, London, and I noticed a couple things.

"In My Mind a Miracle"

This is the first track on As Far As I Can See (which was the first album for which Blunstone and Argent used the Zombies moniker again).  I'd previously noticed the importance of sight in the lyrics, with lines like "No longer blind, I see because of you" and the hint at the classical blind seer, like Tiresias, (and the Zombies' Odessey and Oracle) with "In you I found my Odyssey and Oracle" (in the liner notes, they've finally fixed the spelling).  I'd noticed all of those visual things, but I'd neglected to notice the Latin root of "retrospect" in the line "The things that I've done in / Retrospect have caused me pain."  In Latin, spectare is the verb to look at.

"Hold Your Head Up"

This is something that should have been obvious, but in the "Hold your head up" chant after the organ solo, "Hold your head" is all sung to one note (a D), but the "up" is sung to a higher note (an F), so there's an ascent in the music and the lyrics.  This feature is also in Argent's original (from All Together Now).

The Beach Boys' "Hushabye"

I just listened to the Beach Boys' All Summer Long (the 1990s re-issue packaged together with Little Deuce Coupe and some bonus tracks).  I transcribed some of the songs (because my transcriptions of Beach Boys songs are frightfully scarce), and I noticed a couple things about the lyrics in "Hushabye," written by Doc Pomus and Mort Shuman.

The last two lines in the first verse are: "Guardian angels up above / Take care of the one I love."  I'd always understood the "Guardian angels up above" line as a vocative because there's a vocative in the preceding line: "Oh, my darlin', don't you cry."  The line break seems to further that reading too.  Consequently, the next line - "Take care of the one I love" - is an imperative.

Listening to and transcribing the song now, I realized that it could just be a statement interrupted by a line break.  Instead of "Guardian angels up above, take care of the one I love," it's just "Guardian angels up above take care of the one I love."  Rather than the singer/speaker commanding the angels to guard his loved one, he's reassuring his love that she's being watched over.

I'm most familiar with "Hushabye" via the Beach Boys' version, and I'm fairly familiar with Jay & the Americans' version, but the liner notes for the Little Deuce Coupe/All Summer Long re-issue mention that the original was by the Mystics.  I happened to have the notation for the Mystics' version (from 1959) in Hal Leonard's Essential Songs: The 1950s.  In those lyrics, there's a comma between "Guardian angels up above" and "Take care of the one I love," indicating that those lines are a vocative and an imperative:

Both readings are grammatically viable though.

(For what it's worth, while the notation here is in F major [and I'm assuming the Mystics' version is in F major too, since the notation is based on their version], the Beach Boys' version is in E major, and Jay & the Americans' is in G major.)

The second thing I noticed is the phrase "dawn's early light" in the bridge:  "Lullaby and goodnight / Till the dawn's early light."  I'm not sure if this was intentional or not, but that same phrase is in the first line of "The Star Spangled Banner" - "Oh, say can you see by the dawn's early light / What so proudly we hailed at the twilight's last gleaming?"

B.B. King's "Understand"

This morning I listened to an album of B.B. King that combines two original albums with some bonus tracks, and I noticed a small thing about "Understand" from the album My Kind of Blues.  I'm not sure if it's technically a line break or a caesura, but in either case, there's a pause between "Good things come" and "To those who wait."  That pause in the delivery mirrors the sentiment in the lyric.

Wilco's Kicking Television: Live in Chicago

Last night I listened to Wilco's Kicking Television: Live in Chicago, and I noticed something about the lyrics in two songs.

"Misunderstood"

This song is also on Being There, but when I listened to it earlier this year I guess I didn't pay attention to the line "Short on long-term goals."  Because of the opposition between "short" and "long," there's a sense of incongruity that emphasizes the aimlessness and confusion of not having goals.

"Airline to Heaven"

Originally, this is a song from Mermaid Avenue Vol. II (which I have but haven't listened to yet) with lyrics by Woody Guthrie.  I haven't listened to this version that often, but I hadn't noticed until now that "Them's got ears let them hear / Them's got eyes let them see" is a quote from the Bible.  I had to look up where it is specifically and actually found two instances: "He who has ears to hear, let him hear" - Matthew 11:15 and "And he [Jesus] said, 'He who has ears to hear, let him hear'" - Mark 4:9.  I think it's interesting that Guthrie pluralized it ("them" instead of "he").  It seems that he also extended the Biblical "ears to hear" to "eyes to see."

Colin Blunstone's "Beginning"

Last night I listened to Colin Blunstone's Journey and noticed a small thing about "Beginning."  The choral background doubles the "surrounds you in the night" in the line "Oh, self-doubt surrounds you in the night."  The choral background surrounds Blunstone's lead vocal just like the self-doubt in the lyric.

Mel Tormé's "I've Got a Feeling I'm Falling"

I just wrote about this in "The Four Winds and the Seven Seas," but Mel Tormé's "I've Got a Feeling I'm Falling" also features Wagner's wedding march from Lohengrin (popularly known as "Here Comes the Bride") on - I think - celesta.  Here, when the "Say, mister parson, stand by" verse is repeated, it starts halfway through the first line, and variations on it continue through the next line: "'Cause I've got a feelin' I'm fallin'."  It's not directly stated in the lyrics, but that musical quotation indicates that the singer/speaker is thinking about marriage.

Mel Tormé's "The Four Winds and the Seven Seas"

I just started listening to the last disc in a four-disc set of Mel Tormé titled Jazz and Velvet.  I noticed that after the lines "We vowed and said someday we'd wed / In the church in the vale" in "The Four Winds and the Seven Seas," the first four notes of the "Here Comes the Bride" wedding march (from Wagner's Lohengrin) are played on what I think is a celesta.

Additionally, there's an-other hint of wedding accoutrements with the vale/veil homophone.  It actually took a bit of thinking before I sussed out the line.  It's "vale" as in "valley."

Jefferson Airplane's Jefferson Airplane Takes Off

This morning I listened to Jefferson Airplane Takes Off, the first Jefferson Airplane album.  This was only the second time I've listened to it, so while I noticed some obvious things, they're novel because I'm not very familiar with the album yet, not because I haven't been paying attention.

"Bringing Me Down"

The "down, down, down" in the backing vocals at the end is sung to a descending phrase (F, E, D in octaves, I think), so there's a descent in the words and the music.

"Don't Slip Away"

The last "away" in the line "Don't slip away, oh, no, don't slip away" have melismas.  The first two syllables are sung to C# notes, but then there's an extra third syllable sung to a B.  So the "away" slips from one pitch to an-other.