If I’m remembering theory notation correctly, the change for “Inner City Blues” is i-IV. Two chords. It opens with twenty-four straight measures of the minor root before finally changing to the major IV, where it stays for all of four measures before returning to the root. Would have bored me senseless a decade ago; now, I’ll be damned if that change ain’t transcendent. The song is a chant-like, soul-filled lamentation. An angry prayer.
I only know of Deodato because of Being There (1979). Hal Ashby drops his needle on “Zarathustra” during the long sequence near the beginning of the film when Chance leaves his now-dead employer’s estate and wanders, umbrella and suitcase in hand, through the streets of Washington, D.C.
The Song of the Moment was supposed to be Mark Kozelek’s version of “Riff Raff” from What’s Next to the Moon, his album of Bon Scott-era AC/DC covers. Something in that combination of Kozelek’s voice and his tasteful acoustic guitar arrangements unearths the roots in AC/DC’s rock. That album is borderline bluegrass–not the arrangements or […]
Yeah, I know. There’s nothing less hip than Elton John, but while walking through Toronto last month, my iPod randomly landed on “Captain Fantastic and the Brown Dirt Cowboy,” and it was, at that moment, the single greatest song I had ever heard.
“Listen to this song,” he told us. “It’s the coolest.” Robbie was something of an authority on such things, and so I listened. Intently. Sitting stone upright on Dave’s bed. And Robbie was right. It was most definitely the coolest. This wicked keyboard sound introduced a simple, shuffling drumline.
When I was 19 I played piano in a big band. One night, during a break, I started playing part of “South Side of the Sky” and within a minute the rest of the rhythm section joined in. It was really sloppy, but we made it from the end of the piano solo through most of the “la la la la la la la la” part.