Peter told me the other day, while listening to some old vinyl of Pink Floyd as well displaced generation, who had read a free newspaper critic proclaimed genius of the concept album the seventies were an invention of the record. Of all the criticisms I have heard, many of which are secondary to progressive rock, this is by far the most outlandish. As we were starting from that laugh enraged that gives someone write that with impunity, we recalled that one thing that is brainchild of the record are compilations aberrant as the "Adagio Karajan" or four-minute songs, it really is a commercial invention of which, I confess, I am a victim: I have about seven gigabytes of music on the hard disk that practically only listen in shuffle mode, each time it is more difficult to find time and mental state to play a disc from beginning to pa, plus there are fewer than those designed for that purpose. Calypso fortunate (my machine) is a great DJ that surprised me the most successful eclectic mix.
All this comes about because I want to talk about a song from one of those concept albums of the seventies, seventy-four to be exact, and other published in 2004.
There are songs to listen for a sunny Saturday morning and calm, like today. long So much trouble in the World Bob Marley was my morning song par excellence, but there are many more and today I have suggested two Calypso: Liliwhite Lilith (1974) and "The Lamb Lies Down on Broadway" Genesis and Ladybird (2004), "Everybidy Loves a Happy Ending", last record of the meeting Tears For Fears.
is odd that I never liked progressive and yet now reescucho "The Lamb ..." and I appreciate the light of contemporary music groups such as Stereolab, Tortoise and Mogwai, this illuminating the past and giving it a sudden force.
I will commit the sin of Lilith Liliwhite decontextualise , which is a pretty rocking song that opens disc two. Strong guitar riffs, chords that move against a low pedal and a chorus surprising change of rhythmic feel after an addition of a bar.
Otherwise it is quite simple in structure: ABABC, with the C in the context of the subdominant. Not exactly a coda because it works more as liaison with the next piece of the disc.
A simple song with the grace of chords that move against the bass pedal, rhythmic subtleties and Peter Gabriel's voice has a fantastic color. Ladybird
in principle is quite different: while Lilywhite ... is part of a fairly dark story, Ladybird is a song almost naive but not without a certain melancholy. Curiously, the song by pop (TFF) is a bit more complicated than the progressive, but not much. What is shared and does have a peculiar attraction is the change of sense of rhythm and intensity in the chorus: The Ladybird stanzas are smooth and are in ¾, the choir surprised by switching to a 5 / 4 (3 +2 ) and increase the intensity.
In both songs the melody of the choir is up and arrangement is very contrasting with the stanza: in Lilywhite ... the verses are strong, the rhythmic feel of the chorus is cut in half and smooth, while in Ladybird is exactly the opposite.
As always, they are simple lyrics Tears For Fears are a show of compromise: with few elements manage to give variety to the topic: the intersection of tunes from the third A is very characteristic, and the hue before the last chorus to enhance the final. Perhaps the only thing I blame is the fade out.
In any case if someone wants to recommend listening to the experiment in reverse chronological order: Ladybird first and then Lilywhite Lilith.
Ah! and if you can put immediately after the San Lorenzo Huastecos Los Camperos (compilation "just another moment" CORASON record) going to be thrilled. I love my DJ.
"... Cupid, as a traitor, take my life is,
only ask a favor, that his sword is silver
to die with courage and in the arms of my flat ..."
Just a note more devoted to nostalgia: My friend Leonardo Neymet, with whom I had my first band was a fan of "The Lamb ..." Today, twenty years later, can I thank you for giving to him.
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