Sunday, July 6, 2008

PMCPP PRESENTS: Love Me Do

LOVE ME DO
PMCPP Analysis #10
KEY: G Major
RHYTHM USED: Again, no.

All right, so I'm totally getting off on a tangent with these non-piano songs, but when I found out that Paul wrote Love Me Do, I couldn't resist covering it, piano or not. So let's get this over with so I can cover something that actually includes a god-damn piano.

THE GUITAR: I do think this deserves special mentioning, the guitar part. Straight quarter note strums (with a very rare eigth note thrown in) on 2 different chords for most of the song? That's seriously about as easy a guitar part as you can get. No riffs? Not even any rhythmic fun with it? Come on, even for the first song by this band it's not up to par with most starter songs. Hell, a 8 year old could write songs more playable than this.

All right, I'm done, on to the laziness!

LAZINESS IN SONGWRITING: Basic repeating of what you already know is in evidence here, such as the easy home key of G and the usage of just I IV and V chords. It's the WAY they are utilized that sucks ass especially here.

Most of the song is spent on I and IV in an unholy lovefest of happily switching between those 2 chords every measure without fail. The ONLY exception to this rule is during the bridges. A V chord shows up twice per bridge, giving it a grand total of 4 measures of appearance in the whole song. Considering the verse section appears in some form 6 different times in the song, I'd say it's in the vaaaaaaaast minority of harmonics here. Anyone else catching glimpses of All Together Now here?

I don't really think I have to bring the lyrics into this, since it's fairly obvious how skimpy they are. There are a grand total of 16 different words used in the song. Considering that every other freakin' word is "love", that's made even more pathetic sounding. I suppose I should give kudos to them for making such little material somehow spread out evenly over a 2 minute lag-fest.

Also of note is the fact that originally the harmonica part wasn't in the song after Macca wrote it. Lennon came up with it. (thanks for pointing out my previous error, spookierthanu!) What's this mean? Originally, this song was even MORE generic and without merit without that harmonica part. And what was Lennon supposed to do before he got the harmonica part? Another guitar part? I don't think so Tim.

WHY PAUL GOT AWAY WITH IT: Give him a break, it was one of his first songs. Although I must say it does give a nice glimpse into the future of lazy songwriting for Mr. McCartney, I'll give him a pass this time.

Just once though.

- UZ

Friday, July 4, 2008

You may have noticed

I'm not doing those Wednesday updates anymore. I just suck at scheduling myself for anything, plus I'm doing writing for Blogcritics now, meaning I have to write for more than just this.

You can still expect one or two of these a week, though. You just won't know which ones. :O

Thursday, July 3, 2008

PMCPP PRESENTS: All Together Now

ALL TOGETHER NOW
PMCPP Analysis #9 (number 9... number 9... number 9...)
KEY: G Major
RHYTHM USED: Uh... None, really.

Whoo, we're back! This song is a fine example of Paul simply being a total doofus in his songwriting. Seriously, people bought an album with this song on it and didn't notice how bad it was? I guess maybe George's stupid sitar songs might've confused them... but come on.

THE P-: OK, never mind on that one. Let's just have fun with the laziness, shall we?

LAZINESS IN SONGWRITING: Oh, jezz. Where to begin?

What?

The lyrics?

All riiiight. Anyway, the lyrical content in this song leaves a lot more than just SOMETHING to be desired. It sounds like it was written by a 7 year old who had just recieved a rhyming dictionary. Or perhaps by a retarded 40 year old who recieved the dictionary. It's really just a matter of intellect here. Congratulations to Paul, by the way, for figuring out the alphabet by the time he was in his 20's.

Also he can't pronounce ORANGE. Owange indeed. I don't know what this has to do with the songwriting, I just figured I'd point it out.

The key here is in our old standard G Major, unsurprising for the content of the song overall. Actually, I'm shocked Paul didn't TOTALLY devolve into childhood and just stick with C Major. I guess he was going for something DARING here. Daring for Paul, anyway.

The strumming pattern on the guitar is your basic open chords of G, C and D in an all straight eigth notes sort of fashion. Normally even Paul sticks a V-V or iv or even flat-VII chord into most of his songs, but nothing fancy here. I IV and IV reign supreme in this one, with a sort of Love-me-doesque usage of almost exclusively I and IV chords for most of the song. (V only appears on "I love you" and "Look at me" lyric-wise. It's also used once for the final cadance when the song speeds up near the end.) Love Me Do is also in the same key as this one. Hm.

WHY PAUL GOT AWAY WITH IT: Seriously, nobody is quite sure. Perhaps they were trying to divulge into the wide demographic of 7 year olds? Actually, if I was going to ask someone to write a song with 7 year olds in mind, I guess Paul would be the one, eh?

- UZ

NOTE:

This series and blog is totally tongue in cheek. I really do love Paul McCartney.