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heard |
Edie Brickell |
Ghost of a Dog |
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The Rollins Band |
Weight |
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Sting |
The Dream of the Blue Turtles |
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Jimi Hendrix |
Smash Hits |
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Meshell Ndegeocello |
Bitter |
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The
perfect second (11-10) "The perfect 2nd (or perfect
9th, which is the same note an octave higher) may
also be added to a major triad without omitting the
third. The resulting 4-note chord is called the
added 2nd (or added 9th), and like the added 4th
chord, it offers a way of extending a major triad
without compromising it's positive
atmosphere." In the song
"This is the Life" by Living Colour there is a point right
after the guitar solo (possibly one of my all time favorite
solos by Vernon Reid) where the song moves back into the
verse, but changes the motif they've used all along in the
lyrics and begin singing lines like "in this other life
you're always the victim/In this other life you're always
the thief" and as Corey sings these lines out the guitar,
bass, and guitar synth play out a slow modal arpeggio that
builds up a single moment of tension against the repetitive
rhythm figure in a way that just makes me shiver with
joy. In the song
"Summerland" by Kings X, there is this place right at the
beginning of the guitar solo where the band sort of lets all
of their instruments ring out just before Ty Tabor launches
that one high-pitched bend that marries perfectly with the
bass taking over for the guitar chords with heavy whole
tones marking out the beats for that section of the song.
That part of the song almost always dregs up some serious
memories for me just because of the way it taxis onto the
runway before taking to the air. At the end
of every chorus in the Drivin' n Cryin's classic
"Honeysuckle Blue," Kevin Kinney adds in a little
"wha-ah-ooooh" right before the whole band hits the main
riff
krung krung! - whaaoo
ba na bwa bwao! kreng kreng! - whaa
bwa bwaaaaa! I'm in an
off sort of mood. money,
lack of money, time,
lack of time
. But today I
catch myself saying, "We'll get through it. We always do.
Things could be a lot worse." Last month's
bullet train to the head deadline has past, and even though
I was busier than hell I got through it. The reward on the
other side? A month where there isn't much work to go
around, and lots of free time to catch up on paperwork.
I sit at my
desk, listen to CD's on headphones, and do my work. Every
now and then I take some time to write stories. I've got one
in the works that I think could be very good if I can just
find the time to finish it. It looks
like the weather is going to be beautiful this weekend, and
the Jazz festival is in town. I'm hoping to take Kim and the
boy out to see John Scofield on Saturday. Maybe try again to
jam with Ellerbee, since that fell through last week. But
whatever happens will happen. And I sort of like that
feeling. I think I'm
going to go home and see how Kim is doing. You guys
have a great weekend. I can
see -
Jimi Hendrix, "May this Be Love"
Have you
ever seen the blue ridge mountains, boy?
A
t the end of the song "10,000 Angels" by Edie Brickell,
there is this great moment where she is recanting the main
theme of the lyrics just as the music is fading out. And as
the music disappears, leaving only her voice, the engineer
gradually removes all of the reverb, delay, and compression
from her microphone, leaving nothing but the words, the
voice, the feeling.
You
know, the one that goes like this:
There
are pressures.
But there are always pressuresThere
are problems
Take
us home, Jimi...
Nothing can harm me at all
My problems seem so very small
With my waterfall
My rainbows ahead of me
through the misty greens
of my
waterfall
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