Masters of arranging, and catchy hooks, Bee Gees “Jive Talkin’” is KILLER, and makes me think NO one currently would take the risks these guys did.

Take note, they choose to start with the chorus, which is always a cool option.

BUT, the big news is the synth solo at 1:07, which is in 7/4! (for all you non-musicians, that means it’s an asymmetrical phrase of 7 beats over 2 measures instead of the traditional 8 beats over 2 measures).

Another cool feature there is the drummer NEVER turns the beat around in those sections. The only thing close to this would be some of Sting’s solo efforts such as “7 days”:

Until next time…

You know, I’ve been contemplating doing a whole series on the BeeGees, and now just may be the time.

I mentioned in a previous post doing a corporate cover gig recently, and I remembered my main reason I enjoy playing those gigs is that I’m reintroduced to songs I know forwards and backwards, but I’m listening with a different set of ears than before.

“Staying Alive” is no exception.

I could talk about how in the world does a doo wop band make the transition to a major pop group in the disco era.

But in today’s blog, just focus on the “asymmetrical” arrangement starting at 2:59.

The progression is 2 measures on the minor 1 chord, then 3 measures of the 4 chord! I’m wondering if someone on the session said, “hey you’ve got an extra measure in the phrase; that’s 5 bars!”. And then it’s followed by a more traditional 2 measures of minor 1, then 2 measures of the 4 chord.

You and I are completely used to that having heard the song so frequently, but that still takes some conviction to pull it off!

We’ll see this to be a CONSISTENT move by the BeeGees as I cover more of their songs in the future.

Until next time…

Continuing in my discovery of great modulations, here’s a gem I had forgotten about.

This modulation (2:00) kicks in after the bridge DOWN a whole step! For a comparison check out Train’s “When I Look to the Sky” for a similar move.

Great way to propel into the solo that follows.

And let’s not forget the fact that it’s possibly the only song known to correctly use the word “moot” in a lyric!

Until next time…

So sorry to be absent for awhile, but I recently got to play a cover gig (corporate), and was reminded of some GREAT songs that featured modulations creatively.

This first one features the Queen of Soul, Aretha! The modulation in this case comes after the 2nd chorus, as the featured sax solo (King Curtis).

What’s REALLY interesting, is that this was a late addition to Otis Redding’s original. (I’ve included both for contrast).

Arif Mardin was at the helm on this, so maybe it was his idea.

Keep in mind, this is a similar move to Semisonic’s “Closing Time”, except they did a mod PRIOR to the solo.

http://jgarnerprod.net/?p=36

Just another tool in the tool shed!

Until next time…

This from a short lived show David Sanborn used to host.

The band defines “deep pockets”.

Unbelievable.

That’s all I got on this…

Until next time..

As a kid growing up in the 80s, I didn’t have a clue who Hal David and Burt Bacharach were, but I LOVED this song! It wasn’t until recently I realized that it was written and performed in the 60s!

Again, Bacharach displays his no fear attitude of unusual phrasing and meter in the verses, while Hal deftly crafts a lyric that seems as though it was always there with it in the first place.

Until next time…

Wishing you a very Merry Christmas!

Jason Garner

Masters of the singable lyrics, this single of Dionne Warwick’s has been covered by at LEAST 30 other artists.

2 points:

1) “Get enough germs to catch pneuomonia”, always makes me laugh!

2) dovetailing the end of the bridge into the last verse “That is why I’m here to remind you….what do you get when you fall in love…” Brilliant!

Okay, so maybe the “so for at least” gets a little sideways in the prosody department, but otherwise, this is another great example of Hal David’s effortless lyric writing (sounds that way anyway).

Just a few more, and we’ll step away from Hal into new territory.

Until next time…

I simply just couldn’t help but share this.

Classic song.

Classic singer/songwriter.

Classic garb.

I debated on interrupting my Hal David series for a week or so, but made the executive decision to discus what I call a “big deal”, at least in the music production world.

You should’ve heard this song by now, either through your top 40 radio station, or via the Internet Explorer ad. (see above if you haven’t).

For awhile now (over a year at least), in the magazines and web discussions I read, people have named “drums and bass” and “wobble bass” as one of the most important and influential music trends going on in music right now.

Knowing the genre has dominated this discussion for so long, I was curious whether and when this really dark (IMHO) sound could ever translate into the mainstream.

This song by Alex Clare is this FIRST example that I’ve found that really hits it head on, both with the sound AND the atmosphere of the track. But of course, it doesn’t hurt that Alex could probably sing the phone book and make it sound killer!

I mean, yeah, Selena Gomez hinted at this genre with the bass chosen for her track “I Love You Like a Love Song”. But that was still basically a dance tune with a wobble bass in the chorus.

It still remains to be seen if the true spirit of “Drums and bass” can make a steady influence on the top 10 or not.

What do you think?

Is this sound is here to stay? Or just a flash in the pan?

And secondly, will Alex Clare stay in “drums and bass” world for awhile, or venture into other sonic territory in the future?

Shoot me a comment and let me know!