Post by Perplexed on Jan 27, 2004 10:41:00 GMT
Well, been listening to ...Broad Street and Paul is Live.
Its a tight, totally pro band sound on the live album. I really enjoy hearing a live version of "We Can Work It Out", it is a few ticks on the metronome slower, but this tune works at a slower groove. It doesn't lose any energy; the band packs more energy into the funkier downess of it. Overcoming the inertia of the 3/4 hemiola poses a challenge. But, it actually does stay faithfull to the tempo; the drummer and bassist are elastic enough to re-establish the 4/4 tempos with subtlety. It grooves. The "picking" inner guitar rhythms are clear, distinct, and cook. (...until we can't go on, cah chung--chung!) Also, the vocals on Paperback Writer are really really clean, tight.
70's Paul tunes, the 60's Beatle tunes---all really great to hear, this way. Amazing to hear a live stab at MMT, were those synth trumpets?, well played on the keyboard sampler. These are world class sidemen--I haven't looked at the jewel case (it pop the C D into the car stereo, toss it's case in the back and usually lose it. Where is my organization?)
I have to honestly say, that Bill CAN evoke a lot of Paul's vocalism. Or maybe I am nuts, and its really just Paul, older. Michelle is extremely convincing---maybe I need a vacation.
Anyway, one listen thru, I'll hear it many more times this week.
Its a well rehearsed, top flight, professional show. Paul is in great form--the recording mix is really good. I notice it is edited from various cities.
On Broad Street, I am surprised to hear it a tone higher and sung without seemingly reaching for notes----and only a once through. Perhaps this was in compensation for the slower tempo.
I skipped around, haven't heard it all. Long and Winding Road was nicely orchestral, a little less overrought than the Spector version, which I love.
But:
The Eleanor Rigby orchestral tone poem/fantasia on "...Broad Street", uhm , stunned me. As I have said before, I love orchestral renderings , and a lot of romantic period classical music.
I loved it. I listened through it 3 times. The third time I became very moved. Very evocative, very compelling. Eleanor (or whoever she represents) takes on flesh and breathes for a while in this suspenseful, bittersweet to dark melodrama. Its British film noire movie scoring, with a pinch of Dickinsonian reallife tossed in. The various integrated sections suggest cinematic tableau. I will find out if this work is accompanied by a video.
I'll venture my visual impressions gleaned: Eleanor could be a woman like "Oliver Twists' long lost aunt", a spinster grown
world weary and isolated, who succombs mysteriously to some implied dirty business. She plays victim to an unseen predator, who stalks her in a wood near hew shambled home. The predator could simply be only loneliness and old age itself, in the manner of the kind of personification exploited occasionally on Rod Serling's Twilight Zone. Images from the original Eleanor Rigby video of Father McKenzie floating dutifully away from the grave sight serve well to heighten the desolation. Eleanor becomes a symbol of all of cast-off humanity; McKenzie is the uncomplaining servant of human fate, a faceless entity waiting to greet each man as he hits the door to eternity.
The rich orchestration segues directly out of the ORIGINAL 1965 one authored by George Martin (I presume). I further guess that the elements that are so well developed in the ensuing several minutes of this were organized and provided in an initial form,by McCartney himself, to be fleshed out and "realized" orchestrally by Martin. Unless Paul has been studying advanced orchestration on the sly...........but even John Williams hands his movie bits to 4 or 5 assistant orchestrators to expand. Often, a 4 or 5 stave rough draft score is enough to get young, eager, detail obsessed orchestrators on target with a complete full orch. score. Composition is art with a little science; orchestration is a lot of music science and a bit of art. In the end, composer and orchestrator flow evenly into ONE creative unity.
To be an orchestrator, being able to focus obsessively on a narrow field of musical view for HOURS at a time is an asset. Sometimes that trait can, spill over.
But, the Eleanor Rigby is friggin' brilliant; it is a work of art. IMO. Some here will not agree with this; I may now be dished on both discussion boards! (Already the macca4ever people have judged me insane).
In the end, I sit alone in my little world of musings and musiccraft, knowing I am what I am, not better or worse because of it (although there are certainly many more AND a few less talented muscians than myself, and well, that applies to everyone other musician.) But sensing the isolation that my eccentricity has earned , I must exult in the benefits. So, gosh, no I'm not crying over it-------I enjoy a lot of solitude when I am not at work. It gives me a chance to sort everything through more---being a bit ADHD (as some of you might be also)can be challenging. So mental hyperactivity poses a
social, hmmmm, well, opportunity!
Maybe that was Eleanor's problem? Who knows, maybe a little Ritalin could have brought the old girl out of her shell. But then, we wouldn't have that lovely song..........
What was I saying?.........
Its a tight, totally pro band sound on the live album. I really enjoy hearing a live version of "We Can Work It Out", it is a few ticks on the metronome slower, but this tune works at a slower groove. It doesn't lose any energy; the band packs more energy into the funkier downess of it. Overcoming the inertia of the 3/4 hemiola poses a challenge. But, it actually does stay faithfull to the tempo; the drummer and bassist are elastic enough to re-establish the 4/4 tempos with subtlety. It grooves. The "picking" inner guitar rhythms are clear, distinct, and cook. (...until we can't go on, cah chung--chung!) Also, the vocals on Paperback Writer are really really clean, tight.
70's Paul tunes, the 60's Beatle tunes---all really great to hear, this way. Amazing to hear a live stab at MMT, were those synth trumpets?, well played on the keyboard sampler. These are world class sidemen--I haven't looked at the jewel case (it pop the C D into the car stereo, toss it's case in the back and usually lose it. Where is my organization?)
I have to honestly say, that Bill CAN evoke a lot of Paul's vocalism. Or maybe I am nuts, and its really just Paul, older. Michelle is extremely convincing---maybe I need a vacation.
Anyway, one listen thru, I'll hear it many more times this week.
Its a well rehearsed, top flight, professional show. Paul is in great form--the recording mix is really good. I notice it is edited from various cities.
On Broad Street, I am surprised to hear it a tone higher and sung without seemingly reaching for notes----and only a once through. Perhaps this was in compensation for the slower tempo.
I skipped around, haven't heard it all. Long and Winding Road was nicely orchestral, a little less overrought than the Spector version, which I love.
But:
The Eleanor Rigby orchestral tone poem/fantasia on "...Broad Street", uhm , stunned me. As I have said before, I love orchestral renderings , and a lot of romantic period classical music.
I loved it. I listened through it 3 times. The third time I became very moved. Very evocative, very compelling. Eleanor (or whoever she represents) takes on flesh and breathes for a while in this suspenseful, bittersweet to dark melodrama. Its British film noire movie scoring, with a pinch of Dickinsonian reallife tossed in. The various integrated sections suggest cinematic tableau. I will find out if this work is accompanied by a video.
I'll venture my visual impressions gleaned: Eleanor could be a woman like "Oliver Twists' long lost aunt", a spinster grown
world weary and isolated, who succombs mysteriously to some implied dirty business. She plays victim to an unseen predator, who stalks her in a wood near hew shambled home. The predator could simply be only loneliness and old age itself, in the manner of the kind of personification exploited occasionally on Rod Serling's Twilight Zone. Images from the original Eleanor Rigby video of Father McKenzie floating dutifully away from the grave sight serve well to heighten the desolation. Eleanor becomes a symbol of all of cast-off humanity; McKenzie is the uncomplaining servant of human fate, a faceless entity waiting to greet each man as he hits the door to eternity.
The rich orchestration segues directly out of the ORIGINAL 1965 one authored by George Martin (I presume). I further guess that the elements that are so well developed in the ensuing several minutes of this were organized and provided in an initial form,by McCartney himself, to be fleshed out and "realized" orchestrally by Martin. Unless Paul has been studying advanced orchestration on the sly...........but even John Williams hands his movie bits to 4 or 5 assistant orchestrators to expand. Often, a 4 or 5 stave rough draft score is enough to get young, eager, detail obsessed orchestrators on target with a complete full orch. score. Composition is art with a little science; orchestration is a lot of music science and a bit of art. In the end, composer and orchestrator flow evenly into ONE creative unity.
To be an orchestrator, being able to focus obsessively on a narrow field of musical view for HOURS at a time is an asset. Sometimes that trait can, spill over.
But, the Eleanor Rigby is friggin' brilliant; it is a work of art. IMO. Some here will not agree with this; I may now be dished on both discussion boards! (Already the macca4ever people have judged me insane).
In the end, I sit alone in my little world of musings and musiccraft, knowing I am what I am, not better or worse because of it (although there are certainly many more AND a few less talented muscians than myself, and well, that applies to everyone other musician.) But sensing the isolation that my eccentricity has earned , I must exult in the benefits. So, gosh, no I'm not crying over it-------I enjoy a lot of solitude when I am not at work. It gives me a chance to sort everything through more---being a bit ADHD (as some of you might be also)can be challenging. So mental hyperactivity poses a
social, hmmmm, well, opportunity!
Maybe that was Eleanor's problem? Who knows, maybe a little Ritalin could have brought the old girl out of her shell. But then, we wouldn't have that lovely song..........
What was I saying?.........