Friday, March 8, 2013
Phil Collins abides
Let's start with the introduction. While perfunctory, it's an excusable, ii-V upbeat to the verse. But next is the verse. Have mercy. The first two measures are, to me, some of of the most dashed off, junky ideas ever:
To top it off, the melody is almost completely parallel with the bass/roots...in octaves. Ugh. Not in a chorale-style theory class way, just in an extra friggin' ugly to my ears sort of a way. And this continues through the verse: melodic emphasis of the roots, though it is somewhat masked by some simple scale work and arpeggios. I do like the Ab/Gb sound, and it resolves to F-7, which is smooth and fine.
But. All is saved by the chorus. Oh have mercy, the chorus. The other kind of "have mercy." The first two chords comprise one of my favorite moments in music:
So there are two root position tonic triads in this song: one is part of that iffy ascending bass thing,and there's a quick one in the ending. The ending is just as perfunctory as the beginning, with the unfortunate, faux-thoughtful "last chord on V." Oh well.
But that chorus kicks ass!
You know what else I love? Gated reverb on the drums. I don't care what anyone says. You know what else is great? This video.
The Dude vs James Woods, who is, of course, the bad guy, because he has facial scarring
Jeff Bridges as the lovable rogue! James Woods being bad, apparently. Anyway. I love this song. Mostly because of one chord. And a snare drum that sounds like a Casio keyboard drum pad. But I love it.