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Old 4th January 2012
  #4
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Quote:
Originally Posted by suzzymackenzie View Post
It could well be a candidate for the perfect pop song, or perhaps the perfect pop-song writer's pop song - I thought I got fleeting (and pleasant) aftertastes of Alan Parsons Project, Beatles, Dire Straits, Dylan, and even a bit of Monkees :-)
Ha! Well, thank you. You are so right about the "pop-song writer's pop song" thing -- I often think there are two kinds of pop -- the kinds people actually listen to on the radio and then the sort of stuff that songslutz whittle away at in their studios. I'm a big fan of the latter -- Pernice Brothers, New Pornographers, Matthew Sweet, Aimee Mann, Lloyd Cole, even Eliott Smith to an extent.

I'm really interested in using the traditional instrumentation of 60s/70s pop to make something which sounds reasonably fresh. I sort of feel that a lot of that era's music (eg Supertramp, Elton John, Dire Straits, Fleetwood Mac) which I and many other people LOATHED at the time, is due for a re-evaluation. I think you are already seeing that to a certain extent with Iron & Wine, Jack Johnson and quite a few others. I think it's potentially great counter-programming to dance music/rap on the one hand and generic rawk on the other.

Quote:
Did you consider bringing out the guitar solo you couldn't find space for and using it for an instrumental chorus at 2:47, or even using it to extend that chorus after the current final one since you probably have space before infringing the 4 minute mark.
The solo was originally after the bridge but it robbed the song of that build you mentioned back into the chorus, which is why I ditched it. Putting it towards the end is not a bad idea at all. I can hear one version of it over the final bridge section then coming back in after the build to an instrumental chorus and fade. Very 70s!

Quote:
I am in two minds about the additional key change - one is interesting, two feels like you're making a point. But if it really took you that way like you said on SC, who are you to deny it its freedom to wander? Rules are there for the breaking.
The way I thought about it was that at that point, the key change in the middle of the chorus actually becomes the melody. It feels a bit flat if you don't modulate, because the modulation is such a kick in the pants in the second chorus. But it's something I'll think about for sure.

Thanks so much for listening -- much appreciated.