Best Chord Ever – Part 1 – The Beatles “All I’ve Got To Do”

I have revised this post by adding many more links to recordings found on YouTube (the Beatles’ “personal pronouns period” songs), definitions from and Wikipedia, and links to if one is interested in purchasing The Beatles’ With The Beatles or Weather Report’s  I Sing The Body Electric.

This is the rainy Tuesday morning (December 18, 2012) in Gloucester after the New York Jets self-destructed on national television last night.  It is also the 40th blog post at  One way to celebrate would be to show a video someone made of me composing at the piano.  There will be a video below that will emphasize what I want to discuss today.  The  best chord ever.  At least for today, this is the best chord ever.

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I love chords.  I’ve often composed at a piano by playing one chord, isolating it and thinking about where the sounding pitches want to go next, and then maybe writing the new chord that resolves the pitches from the first chord.  The first chord was a commanding boss that demanded to have its way.  The second chord, in the scenario I am describing, is a slave – it has no choice but to be and do as the first chord demands.

Or repeating or rearticulating my first chord.  Maybe the first chord wants to just linger and eventually fade away.  If it was really good, maybe it’s time to repeat it.  Or maybe it’s time for a series of chords led by this great chord.  The intervals in the chord can be unfolded and turned into melody, and maybe this melody will be harmonized by this chord or subsequent transpositions of this chord.  This type of composing can lead to countless areas and new musical expression.

In this post, I’m considering a chord one only hears in one context  –  in one particular song.  Without this chord, the song wouldn’t be as good.  But this great chord doesn’t fit in its context.

Listen to the first sounds, i.e., the first chord, in this Beatles song:

Beatles – All I’ve Got To Do

The chord has no business being here.  Or in any pop song.  Could this chord be heard in jazz?  I don’t think Ornette Coleman would use this chord.  I don’t think Thelonious Monk would have either.  Cecil Taylor?  Maybe Cecil Taylor would use it.  Early Weather Report?  Yes, maybe.   I could imagine this chord/hear this chord in Vertical Invader from side 2, song 1 of Weather Report’s second album, I Sing The Body Electric.   The Rolling Stones, Aerosmith, Eminem and Kanye – nope, they wouldn’t use it.  The Beatles used it.  Once and only once.  The chord is used only at the opening.  Never again in any Beatles song.  Not in outtakes, bootlegs.  Nowhere.  Damn.  Or as Miles Davis would have said, “DAY-UHM.”

So, here is one of the best chords ever.  You hear it arpeggiated at the opening.

It is solo guitar  –

no singing

no bass

no drums

no keyboards

Only guitar playing this mystical chord:

Beatles – All I’ve Got To Do

The chord consists of these five (5) notes:

 E  G#  C  F#  A

The Beatles used this most advanced, dissonant and mystical chord only once and only here on their second album.  This was during their personal pronoun period.  The early Beatles’ song titles were filled with personal pronouns –

From Me To You

She Loves Me

And I Love Her

Love Me Do

All My Loving

Please Please Me

P. S. I Love You, etc.

Their lyrics too were very simple.  So, why with all of this simplicity and direct boy-girl expression, did they use this complex  chord?  The chord does not reappear in All I’ve Got To Do, the With The Beatles album, or any subsequent Beatles song or album.

Does this chord appear anywhere else, i.e., in any songs?  I’ve never done a search for it.  I think I would be searching for a very long time for this chord.

My point of this post  –  this is a GREAT CHORD.  It’s so striking and unusual.  It adds a lot to this song even if it is only used once – actually, once in the Beatles’ lifetimes.  As a little kid when I first heard All I’ve Got To Do, I thought the chord was scary.  As I got older it became mysterious, or in Boston speak, wicked cool.  What do you think of this chord?

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Don’t read this section  –  (jump down to the final sentence).  It is the most music theory I’ve delved into yet in these forty (40) blog posts.

I made sure to avoid naming this chord.  This chord can have a few names  –  it can be…

E 11 #5  (pronounced “E eleven sharp five”) – this is probably the most acceptable name of names.  (To be literally correct, the pitch “C” should be re-spelled as a B#, pronounced B sharp, but most non-Western Classical musicians would rather see, hear, think and speak “C” than “B#.”)

F# min 9 b5 in 3rd inversion (pronounced F sharp minor nine flat five in third inversion) – a very foolish name but accurate description.

An F# min 9 b5 in 3rd inversion would also be an F# half diminished 7 with an added Major 9, again in 3rd inversion.  Again, a foolish name but accurate description.

This chord  is also the verticalization of the upper tetrachord of the A melodic minor ascending scale functioning as a dominant in A minor with the added 3rd from its resolution to an A minor chord.  Blah blah.

In pitch-class set theory, the chord is the pitch class set, 0 2 4 5 8.  Its most compact arrangement is:  E F# G# A C, which really spells out the upper tetrachord of the A melodic minor scale with an an added natural 3 of the A minor scale.  (I hope you didn’t read this section.)

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I want to explore other “best chords ever” in the future.  Do you have any best chords ever/favorite chords?

I Had Almost Given Up On You – This Chord Didn’t Want To Change (Part 1), 14-Style Bliss


file0001884539324It’s December 14, 2012.  Friday, the 14th.  Not Friday the 13th and not 12/12/12/ or 12-12-12.  But there is still some symmetry to today’s date:

12 – 14 – 12

But by that way of thinking – with the month as 12 and the year as 12 (not 2012) – there are 31 days of this nice symmetry, a fact I’ll ignore after this sentence ends.  Except to sarcastically say (write) that today is probably a great day to get married or give birth and I wish those people a lot of 14-style bliss.

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The title of this post, I Had Almost Given Up On You – This Chord Didn’t Want To Change, came to me a few minutes ago.  I was at a deposition once for the Expert from the opposing side.  She/He was talking too much (that’s always fun as too many words can get one in trouble – just look at the trouble I could cause myself  – the Expert who types/spouts/rants/posts too much!).  Back to our story….  In a very long ramble, the Expert went way beyond simply answering the question – she/he stated that it is unusual for a chord to last more than 8 measures/8 bars and that in one of her/his cases she/he looked “far and wide” for songs that featured chords this lengthy.

My immediate reaction was —-  do you listen to music?  There are a lot of songs, and famous songs, that stay on one chord for long times, more than 8-meaures even.  And there are great songs that have only one (1) chord.  (If a song has only one chord, it can be considered “chord-less.”  I’ve gotten into this before in other posts, so I’ll refrain from developing this discussion.)

Back at the deposition, these songs, that feature extended time on only one chord, came to my mind IMMEDIATELY that day.  And then many more songs came to mind.  This isn’t something for which a musicologist should need to search “far and wide.”

What follows are the songs that first came to my mind that feature significant static harmony.  What are your favorites?  (And let’s keep musical styles/worlds that do not have harmony, such as Indian classical music, out of the discussion as that could be considered, “cheating.”)

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One of the most famous songs that stays on one chord for a long time is the first and only song I know responsible for the name of a great band and a magazine.

Muddy Waters  –  Rollin’ Stone  (1st new chord occurs @ 2.05)

The Doors created one of those “must-know” ubiquitous guitar riffs with the opening of “Roadhouse Blues.” This guitar riff and song open the album, Morrison Hotel.  Morrison Hotel is the origin of the famous name, “Hard Rock Cafe.”

Doors  –  Roadhouse Blues  (1st new chord occurs @ 1.19)

One of Hendrix’ best known songs and longest recorded jams featured Steve Winwood on organ.  This is from Electric Ladyland.

Jimi Hendrix  –  Voodoo Chile  (1st new chord occurs @ 2.52)

A shorter blues, also from Hendrix’ Electric Ladyland.  This is the album where Hendrix demonstrated his great knowledge and love of the blues, and especially Chess Records blues.

Jimi Hendrix  –  Voodoo Child (Slight Return)  (1st new chord occurs @ 1.43)

Not a great Steppenwolf song, ironically, because it needed to change chords sooner.

Steppenwolf  –  Sookie, Sookie  (0.06-0.56 features only one chord)

Because it is Little Walter, the harmonica playing is superb, and the lyrics are either subtle or screaming at you, depending on your familiarity with blues.

Little Walter  –  Mellow Down Easy  (1st new chord occurs @ 1.20)

There are a lot of other songs that feature chords that last for more than 8 measures.  As one who is often CHORD-CENTRIC and has a bias towards thinking harmony before other aspects of music in my own composing, I think it’s a great idea to go to the other side.  To study music that is contrary to your thinking and preference.  This is also a great practice for life, in my opinion.  Do what is not normal, expected or comfortable and see where such an adventure will lead you. (That is a good topic for another post, or many other posts.)

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Again, the songs:

Muddy Waters  –  Rollin’ Stone

Doors  –  Roadhouse Blues

Jimi Hendrix  –  Voodoo Chile

Jimi Hendrix  –  Voodoo Child (Slight Return)

Steppenwolf  –  Sookie, Sookie 

Little Walter  –  Mellow Down Easy 

Talk Amongst Yourselves, Turn Me On, Beatles One Louder, the Buttocks Bowl

This week is beginning perfectly.  It is sunny up here on Wingaersheek Beach in Gloucester.  Thanksgiving was a great one in Massachusetts as we New England Patriots fans owe gratitude to the New York Jets for their comic ineptness on Thanksgiving evening  –  I’m calling it the Butt Bowl  –  and projects of mine are getting completed.  And I’ve been invited to speak about my work in copyright and intellectual property at the Harvard Law School again.  All good things.

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How can you get one’s attention?  Play a Beatles recording.  Play something loud and very noticeable. Maybe the intro to a Beatles song.  If one wants to hear a loud, striking, very original opening of a Beatles song, one that will really hit the ear, there is one song that WILL not do it.  It would be the WORST BEATLES SONG, worst only in terms of making a listener notice.  What is the Beatles song LEAST likely to get one’s attention?  “Eight Days A Week.”  Remember how Eight Days A Week by The Beatles opens?  It can be heard here Eight Days A Week by The Beatles or back in the last sentence.

It……………….f  a  d  e  s…..i n……..

shhhhhhh….shh….sh… and now you HEAR IT!

That was an amazing stunt way back in 1964.  It was the first time I had heard a recording that faded in.  Songs fading out were common but this fade-in was really fun and another innovation (of many) by the Beatles.

But the subject of this post is getting someone’s attention loudly and at the opening, and a Beatles song that does both.  I want a song that is LOUD and NOTICEABLE and unlike any other Beatles song and I want the LOUD and NOTICEABLE and UNIQUE to happen immediately.  Right at the opening.

The Beatles’ She’s A Woman is a song that is loud, distinctive and original at the opening.  The song is notable for a few other reasons too.  Structurally it is often a 12-bar blues (0.10-0.42;  0.43-1.14;  1.20-1.52), with an instrumental 6-bar blues (1.53-2.09), and two (2) 2-bar bridges –  the first at 1.15-1.20, the second at 2.09-2.14.  A 2-bar bridge, you say?  And the 2-bar bridge contains the words, “she’s a woman.” !?!  If the 2-bar bridge contains the title, “She’s A Woman,” wouldn’t it be a chorus and not a 2-bar bridge?  In the words of Linda Richman… Talk amongst yourselves.

The opening of “She’s A Woman” features loud piano and guitar in unison playing the same staccato chords.  When the bass and drums enter, it becomes clear that what the guitar and piano had been playing, what seemed like downbeats, were really upbeats!  A very cool deceptive trick.  A deception as to where you count 1, 2, 3 and 4.  If you were dancing at the opening of the song, your dancing had to change a bit as your perception of the beat changed.

The opening chord  –  what one thought was the “tonic” chord, the most important, central chord, hierarchically, to all of the other chords – the “I chord” (pronounced, “One” chord)  –  was really the “V chord” (pronounced, “Five” chord), another fun deception.

I think that “She’s A Woman” was the first time the Beatles hinted at drug use.  Three times in “She’s A Woman”  Paul sings, “turn me on when I get lonely” –  at 0.32, at 1.42 and finally at 2.36.  It was not obvious in 1964-65 that “turn me on” referred to drug use, however.  Some people knew this but “turn me on” was not yet in the public lexicon.

She’s A Woman also contains the worst lyric the Beatles may have ever written –

“My love don’t give me presents.  I know that she’s no peasant.”  

Huh?  “Peasant?”  I wish Paul hadn’t pursued the giving “presents” line as then he wouldn’t need a rhyme, and wouldn’t have to relate that he knows his woman is not a “peasant.”  Of all the things I’ve ever heard ascribed to any woman, “peasant” has never  been one!

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The Beatles amped up the strong, loud and cutting intro with the song, “Getting Better” from Sgt. Pepper’s Lonely Hearts Club Band.  The intro to The Beatles’ Getting Better features strong sforzando guitar and keyboard again but this time, in addition, the strings of the piano are struck with mallets to make it an even more brittle, piercing sound.  Because “Getting Better” has such a distinctive and unique intro, it could be used or imitated for special effect.

I heard (and saw) a commercial a few years ago that I knew immediately was a strong reference to the opening of The Beatles’ Getting Better.  This commercial is still running and can be heard frequently on U. S. television stations, and as of last week, I have finally been able to find it on YouTube.  Do you know the commercial to which I refer?

I’ll discuss it tomorrow.  To me, this commercial is the essence of “reference” and “referencing” music, an important practice in contemporary advertising.


Love Street, A Century of Women on Top, TimeHop, Mikasa

I had a great time at Prof. Maggie Lange’s class yesterday and want to thank Maggie and her students at Berklee.  I’ve already been emailed and thanked by a few of them.  I’m quite humbled as I suspect I benefitted more from interactions with them.  Their questions were extremely insightful and their enthusiasm the entire two hours inspired me.

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I just became a TimeHop person.  It’s an app that will recapture what you did, photos you took, Facebook and Twitter posts, Foursquare checks-in, etc. on this day one, two or three years ago.  Wicked cool!  It confirms what a great and blessed life I lead, and the wonderful times I’ve had with my Mom and friends.

Three years ago today I wrote –

“With today’s copyright laws, most great composers – Bach, Mozart, Beethoven, Brahms, Stravinsky, Ives, etc. – would be as criminal as Girl Talk, Negativland, the Evolution Control Committee or anyone who finds creative preexisting elements and uses them.”

I still agree.  I’m even more fervent about that.

Two years ago today I began the day at Smith College.  (I always loved Smith College and especially their centenary t-shirts – A Century of Women On Top,” Beavis & Butthead implications intended on my part.) I had spoken at the Independent Music Conference and also became Mayor of the Hampshire Council of Governments, a rare and fantastic fusion of idealism, hippiedom and government.  (It is odd to read those three nouns in one sentence.  That is my description only.  Even though I was the Foursquare Mayor, please don’t discredit them!)

Later that morning I drove to see my Mom who was living in Marlborough, Massachusetts.  I had a coo-woo with her and she had her “Dewars on the rocks with a lemon twist” using the Mikasa crystal martini glasses I bought for her.  And I discovered that day that the Mikasa glasses sounded a sonically gorgeous “A 440when struck.

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I wanted to post one (1) song today.  I wanted it to have the word, “love,” in its title and be a song I own and love.  I seached for “Love” (searching for love in the exact right place) in my iTunes and found 2,860 songs.  If played back-to-back, they would last 7 days.  Wow – 7 days of peace and love!  Sounds great!  These songs with the word, “LOVE,” in their title take up 16.88 Gb of my iMac.  If only NASA could have had 16.88 Gb for Apollo 13.

The “LOVE” song that hit me just right is….

L O V E    S T R E E T    

by    The Doors

And because Jim Morrison was the lyricist (I think?), the lyrics were original, atypical and memorable.  Phrases such as –

“lazy diamonds, studded flunkies”  – this was how I learned the word, “flunky.”  I asked my parents what a “flunky” was.  They laughed, explained it to me, and then used that word to encourage me as a student for the next few years!

In terms of music theory/composition/structure, “Love Street” is an excellent song to study:

A minor, G Major, G minor, F Major

which is then transposed to

B minor, A Major, A minor, G Major

which then leads it perfectly back to the first four chords beginning on A minor.  (G minor to F Major is essentially a transposition of A minor to G Major.)

When I first heard Bob Dylan’s “Lay Lady Lay,” I caught the fact that both songs work on the same idea of transposing a simple motive (in Dylan:  A Major, C# minor becomes G Major, B minor – walking down the guitar neck), in both cases, a series of simple Major and minor chords.  Enough music theory.  There’s a beautiful beach outside waiting for me!

I hope your pre-Thanksgiving Day is going well.  Don’t shop but if you have to, Market Basket is great and run so smoothly!  I was in and out of the store very quickly.  I expect the food shopping/hunting/digging on Wingaersheek Beach to be typically simple and direct today.

How NOT To Write Great Music – Part 1

I have been involved in many styles of music as a composer, performer, theorist, musicologist, ethnomusicologist, conductor, guitarist and pianist and lover of music.  I’ve plunged into almost every kind of music from almost every period and continent.  I am not claiming to have expertise or even knowledge in and about so many kinds of music.  I am claiming to be very curious about, attracted to and in love with music from all over this planet.

One of the best things about a being a music theorist, or musicologist, or best word yet – ethnomusicologist – is that we strive to understand how music – the music we experience – came to be.  Ideally, the more one knows about how the music was conceived, created, performed, recorded, disseminated and valued, the more likely it is that we can better enjoy the music, better understand the people who created the music, better understand our own music, culture and identity and, ideally, live better.

How do we create music?  What are the best and worst ways to create music?  Is it possible to answer these questions?  I try to answer them in my own life and will begin a discussion with this post.  So, here goes.  I hope that the end result is laudable.  I know the answer/end point and will concoct this path to get to the end.  The way I’ll approach these particular posts is to examine what NOT to do.  By examining what NOT to do, we might better deduce what TO DO.  (This series of posts, like some of my others, will be ongoing but intermittent.)

The overall title is  —   How NOT To Write Great Music.  But for these first posts, we will change “…Write Great Music,” to the more specific, “…Write A Hit Song.”  The title, therefore, is “How NOT To Write A Hit Song.”  I will outline a series of music compositional steps that might seem foolish, and guaranteed to result in not good music, but were followed in the creation of this music.  And despite the foolish musical suggestions/directions/prescriptions/steps, the result was Great Music, or a Hit Song.

How NOT To Write A Hit Song

1.  make it 7 minutes long

2.  use 5 different singers

3.  make sure that no singing is heard for the first 2 minutes of the song

4.  make sure the bass guitar only plays 3 different pitches (for all 7 minutes)

5.  make sure that the entire bass guitar melody is 6 notes long

6.  make sure that this 6-note bass guitar melody is played once and then repeated 51 times

A few questions for anyone reading this –

Do you think the above six (6) constructs are good advice for a songwriter?  For a composer?  (What’s the difference between a songwriter and a composer?)

Could you write a great piece of music following these six (6) stipulations?
Do you know of anyone who has set out to write a song, or musical composition, in such a foolish manner?


From the above prescription, can you name the famous popular song that fits the 6 points above?  The next post will present more information and more clues.  I will post the answer soon, if you don’t post it first.

I hope to hear from you.

Mrs. General David Petraeus, Your Husband Is Cheatin’ On Us; The World Wide (spider) Web


What have I heard about the blues?  Things like this:

Blues is real

Blues is life

Blues is real life

Blues is the story of life

Blues tells the story of our lives

Blues reflects our times

Blues tells the truth

The blues chases away the blues

The blues is a woman

And when it comes to lovin’, cheatin’, hurtin’ and schemin’, the blues has that covered too.

In the past few days I’ve come to realize that blues is intrinsic to, and helps tell the story of, THE BIG DEAL at the Central Intelligence Agency.  The CIA is in the center of all news right now (Monday, November 12, 2012).  General David Petraeus, the Director of the CIA, resigned last week because of an affair.  We are now finding out more.

Petraeus has been married to Wife (Woman A) for 37 years.  Petraeus had an affair with Woman B.  Woman B then finds out that Woman C might be interested in Petraeus.  If Woman B is comfortable with her role as Sometimes-He’s-Mine, than Woman B does not want Woman C in the picture.  What can happen next?  Woman B tells Woman A that there is a Woman C.  (The songs and lyrics will be spelled out below).  Woman B can go to Woman A and tell her that Your Husband Is Cheating On Us.  (Denise LaSalle already has expressed this so well and will be repeated below).

Now, all of General Petraeus’ shenanigans struck me immediately as a few good ol’ blues songs, and I thought I would summarize the story here by means of the blues.  The more I think about this, the more songs I could throw into the carnal mix but I’ll stop with my first six (with links to five).

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I summarize the David Petraeus Blues this way –

I see four (4) characters and five (5) songs that describe the situation.  (I added a sixth song below as well.)

PETRAEUS  –  (“Back Door Man”)  (The Back Door Man will also sing “Mean Red Spider”)

WOMAN A  –  Petraeus’ wife  (“Insane Asylum”)

WOMAN B  –  The Mean Red Spider  (“Your Husband Is Cheatin’ On Us”)

WOMAN C  –  (“Don’t Start Me To Talkin'”)

PETRAEUS  bragging as a surreptitious dog:

Howlin’ Wolf   Back Door Man   “When everybody’s trying to sleep, I’m somewhere making my midnight creep, yes in the morning, when the rooster crow, something tell me I got to go”

WOMAN A to Petraeus:

Willie Dixon & Koko Taylor   Insane Asylum   “When your love has ceased to be, there’s no other place for me, if you don’t hold me in your arms, I’d rather be here from now on”

Woman B, about Woman C, to Woman A:

Denise LaSalle   Your Husband Is Cheatin’ on Us    “Honey your husband is cheating on us, I  know you thought you had a good man, thought you had a man that you could trust.”  “The lies he used to tell you I know them all too well, but now he’s lying to me girl, and that’s why I’m going to tell, hey lady, honey your husband is cheating on us, I know you thought you had a good man, thought you had a man that you could trust”  “Here’s another thing, he’s got too many women, now somebody’s got to go but before I bow out gracefully I’ll tell everything I know!…”

Petraeus on Woman B:

Muddy Waters   Mean Red Spider   “I got a mean red spider and she been webbin’ all over town”  (Amazing how Muddy Waters predicted the World Wide Spider Web back in the late 1940’s!)

Woman C to Petraeus:

Sonny Boy Williamson   Don’t Start Me To Talkin’   “Don’t start me to talkin’, I’ll tell everything I know, I’m gonna break up this signifying cause somebody’s got to go!”

Cash McCall’s  Something Funny Is Going On   would also be a song Woman C could sing to Petraeus (I didn’t include it because I could not find the song on YouTube):   “I smell a rat, babe.  There’s something funny going on, Oh I smell a rat baby, there’s something funny going on, the last time you acted like this I looked around and you were gone, You’re hiding something from me baby, I can tell by the way you act, you’re hiding something from me baby, I can tell by the way you act, now I’m not blind so come on let’s deal with the facts.”

A N D    S O    B E    T H E    B L U E S !



Did Big Happens Here Do Digable Planets?

I love the 1993 Digable Planets album, “Reachin’ (A New Refutation of Time And Space).”  Their big single from the album, “Rebirth Of Slick (Cool Like Dat),” might have been overplayed and overhyped but I still like it.

I love seeing how others view music that is not their native music.   By “native,” I mean this is music that is not their primary music – not the music that they first performed or were “into.”  Many in hip hop came to R & B and jazz after they were first immersed in hip hop, just as many in jazz may have started in rock, and so on.  One of the things that intrigues me is how someone from outside a musical tradition can latch onto a small phrase that might seem not extremely interesting or important to those who are the REAL practitioners of a style, i.e., musicians who are inside that tradition.  For example,  what a hip hop musician might think is important in a jazz composition can be much different from what a jazz musician might think is most important.

I know that many traditional jazz players, especially in the early and mid-1980’s, would not likely latch on to a short phrase, repeat it many times and make this small and almost “throw away” motif into something big.  This tiny melodic gesture, in the hands of an outsider (with respect to a musical tradition), could become the most important part of the melody, or sometimes the only melody that matters to someone from outside of that tradition.  This “how does a foreigner view our music” idea is one I will explore later.  I’ll include myself in this – how and why did I get into hip hop, or Senegalese, Malagasy, Brazilian or Cuban music.

All of this to get back to that famous Digable Planets song that samples some jazz.  Digable Planets were not the first group to sample jazz but this song did influence a lot of people and inform others that something new was happening.  And that this new thing was happening from the confluence of more than one musical style.

I got thinking of Digable Planets a few days ago (during Hurricane Sandy) when I saw a television commercial promoting the idea that New York state is a great place to have technology companies – that New York is “home to the fastest-growing tech sector in America.”   (Massachusetts needs a “tech is our kind of place” and “we are the [tech] champions, my friend” commercial to top New York, but I digress.)

As always, I was doing something other than watching television passively.  I must have been playing on my iPad waiting for the winds to blow harder (as they did).  I heard music that seemed quite familiar – my instant thought was that this music on the tube was a “write around” aka “writearound” aka “reference” of Digable Planets’ “Cool Like Dat.”

Fortunately, the tech commercial was on YouTube, so I lassoed it and placed it here:

Big Happens Here:  Technology

Now here is Digable Planets’ “Rebirth Of Slick (Cool Like Dat).”

Digable Planets – “Rebirth Of Slick (Cool Like Dat)”

What do you think?  Do you hear a relationship between Big Happens Here and Digable Planets?

Is Big Happens Here a ripoff of Digable Planets?

Is Big Happens Here somewhat similar to Digable Planets?

Is Big Happens here not related to Digable Planets?

I think there is a relationship.  I’d rather not divulge my thoughts but read of yours.  I’ll explain my thoughts later.  Soon.  Maybe tomorrow.  But I await your responses.  :  )

Big Wind – a set list for Hurricane Sandy

I hope everyone is having a safe Hurricane Sandy.  I am in Framingham MA having moved away from my residence on Wingaersheek Beach in Gloucester MA.  Because I live 100 steps from the ocean, I thought it was a good idea to move away from the storming ocean for a few days.

I’ve seen a lot of Sandy here – increasing winds, downed branches & trees, closed roads….  In other words,  I was driving near the time when it was stupid to be driving (very few were on the road but I wreak of confidence!).   We had a blackout, I readied myself for that, and then an hour later, the lights went on.  Very nice.  Lots of limes and cachaca, a perfect muddler, Tupperware shaker.  Yes, all that.  Many have it much worse.

I’m having all kinds of computer & telecomm problems between the new cord for the new iPhone 5, its $29 adaptor, the failed adaptor in my car, the fact that Jupiter rotates in the wrong direction, etc.  AT & T makes life difficult for my iPad use as these scoundrels insist on the identification of where I have “service,” where I am billed, whether I am Michael, E. Michael or Edward Michael and which of my addresses (two in MA, one in NJ and one in TN) I use.  I can’t keep this stuff straight!  I keep writing more and more complex melodies o be used as passwords.    In addition to that, I’m supposed to know where I live?  Send help.  I can’t do the mundane  :  )

I was living in New Jersey for the last big hurricane – Irene (2011)  –  to hit the Northeast.  In preparation for that disaster, I thought it would be a good idea to put together a set list of songs about big winds.  All of the songs from my Big Wind set list were in my iMac.  I also wanted to feature songs from many styles, and some non-obvious  wind songs.  (I omitted The Association’s “Windy,” for example.)

So, here is my 2011 set list reprinted here for your meteorological  and emotional comfort.  May you have as many smiles with these songs as did I.

Annuit Coeptis


Friday, August 26, 2011

Pompton Lakes, New Jersey – a day before Hurricane Irene arrives

In honor of The Big Wind (and Rain), I thought I’d compile some of my favorite songs about wind into a set list.   These songs are carefully arranged by my mood – what I want to hear and what feels right following each song.  The styles often don’t flow according to those who restrict themselves to a single style or two.  But I restrict myself to music and sound that I can perceive – I love as many varieties of music as I do varieties of food, people and geography.

Here goes:

1. Florida Hurricane – St. Louis Jimmy

2. The Wayward Wind – I have & love 3 versions – Neil Young, Gogi Grant & Patsy Cline

3. Let The Wind Blow – The Beach Boys

4. Parry The Wind High, Low – Frank Black

5. Like A Hurricane – Neil Young

6. I Hear The Wind Blow – They Might Be Giants

7. The Eye Of The Hurricane – Herbie Hancock

8. In The Wind – Johnny A.

9. March Winds Goin’ To Blow My Blues Away – Carter Family

10. A Pillow Of Winds – Pink Floyd

11. Summer Wind – Frank Sinatra

12. Summer Wind – Desert Rose Band

13. Hurricane – Bob Dylan

14. Hurricane Eye – Paul Simon

15. Hickory Wind – The Byrds (BR5-49 version is also great)

16. Smoke In The Wind – Walela

17. Inherit The Wind – Elvis Presley

18. Trade Winds – Frank Sinatra

19. Blowin’ In The Wind – Bob Dylan

20. Little Wind – Geri Allen

21. Night Wind – Benny Goodman

22. I Talk To The Wind – King Crimson

23. (I’m Not) A Candle In The Wind – Tammy Wynette

24. Temple Of The Winds – Bill Bruford’s Earthworks

25. Prairie Wind – Neil Young

26. Idiot Wind – Bob Dylan

27. Ill Wind – Ella Fitzgerald & Louis Armstrong

28. That Ol’ Wind – Garth Brooks

29. Listening Wind – Talkin Heads

30. Santa Ana Winds – The Beach Boys

31. Teenage Wind – Frank Zappa

32. Tahmizyan:  A Cool Wind Is Blowing – Kronos Quartet

33. Third Wind – Pat Metheny

34. Twistin’ In The Wind – David Byrne

35. Aprilwind – Pat Metheny

36. Blow Wind Blow – Dr. John

37. Blow Wind Blow – Muddy Waters

38. Catch The Wind – Donovan

39. Cast Your Pod To The Wind – They Might Be Giants

40. Dust In The Wind – Kansas

41. Easy Wind – Grateful Dead – (God bless Pig Pen!)

42. My Oklahoma Home (It Blowed Away) – Sis Cunningham

43. G-Spot Tornado – Frank Zappa

44. Any Way The Wind Blows – Frank Zappa & The Mothers Of Invention

45. Blow Away – George Harrison

46. Four Strong Winds – Neil Young

47. Gone With The Wind – Sun Ra

48. Shelter In The Rain – Stevie Wonder

49. Blowing Down That Old Dusty Wind – Woody Guthrie

50. A Mighty Wind – the last song from “A Mighty Wind”

Please feel free to add your storms, Norm.