Friday, December 18, 2009

PMCPP PRESENTS: Getting Better

PMCPP Analysis #19
Key: C Major
Rhythm: Chunk

This song's piano part is pretty much impossible to hear in the mix unless you're listening really carefully, but trust me it's there. If you actually manage to hear the electric keyboard in between all the overly chime-y guitars and loud seizure inducing bass part, you might want to unhear it anyway. Here we goooooo!

THE PIANO: The piano isn't actually playing throughout the entire song like most Paul songs, which usually entail smacking the piano in straight quarter notes for whole 4 minute periods. Instead, this piano part is just consisted of 2 basic chords repeated in the Treble clef (there's no bass part for the keyboard) every... couple of measures. Weee. It's like Paul started writing a piano part, quit halfway through, and then couldn't be buggered - that's a word - to take the random chords lying all over the place out of the mix.

The chords in question are a C Major chord in the 2nd inversion (G-C-E) and a D Minor chord in the same inversion. (A-D-F) These two chords are played in seemingly random orders as the song goes along. After a looooong while an E Minor chord and an F Major chord are added - both also in that inversion - but only played a couple measures a piece in the song. The C and D chords are still going almost the entire time, even when the actual chord implied by the song isn't a C or D. They appear in the same measure during a G chord, for crying out loud!

Hilariously, and as if to prove how god-damn easy this song is, the entire sheet music for this song contains almost nothing but repeat signs in the piano line.

LAZINESS IN SONGWRITING: Well, it's in the key of C. Not even a fun bluesy version of C, but just regular straight forward C. Over a pedal point at parts of the song, no less! To give Paul the slightest of credits, I can at the very least say he didn't make the Pedal the entire song works over a C as well. If he had, I would probably have shot myself in the writing of this analysis.

The entire song works over a pedal of G, which might have just been Paul trying to trick us into thinking he was using a sharp or something, somewhere in the tune. There's no sharps to be found though, don't bother looking. In fact, in a move that makes him LOOK like he's trying to avoid anything fun to play, he made the main chord progression as follows;



Our friend Paul couldn't be buggered - I'm sticking with that damn word! - to write a bass part either. He literally just made it up as he was going along. Funny enough, he couldn't think of anything better than two G's leaping up a couple octaves apart.

WHY PAUL GOT AWAY WITH IT: I guess people realized the album would be "Getting Better" after this song ended.

Friday, December 4, 2009

PMCPP PRESENTS: Why Don't We Do It In the Road?

PMCPP Analysis #18

Key: D Major
Rhythm: Chunk

Yeah, I know, analyzing this song is gonna be about as hard as shooting fish in a toilet. But I said I was doing all of Paul's Piano songs, so we had to get this one out of the way eventually!

THE PIANO: Oh dear lord, this is too easy.

Unlike You Won't See Me
or Back in the USSR, Paul seemed to be content here keeping the song as low grade as he possibly could by eliminating any unnecessary piano rhythms by simply keeping it at the usual Paul fare of 4-on-the-floor smacking of the keys, this changes at no point in the song except for between verses when the whole song stops minus Paul's screeching.

Calling it 4 on the floor is a bit misleading because it's actually 8 on the floor. He's hitting eighth notes rather than quarters, giving both a sense that the song is longer than it actually is and that he actually made a 24 bar rather than 12 bar.

The chords themselves are obvious easy to play 3 note chords, adding the 7th to the root chord he just changes 1 finger instead of adding to the chord that's already there. Durf.

LAZINESS IN SONGWRITING: Hard to say what the worst part of this is. That coma-inducing piano part, the fact that the guitar is playing really easy repeated arpeggios the whole time, the fact that he wrote a 12-bar in the first place, the fact that the bass part is something you'd hear on a kindergartners keyboard demo, or the amazing lyrical skills in play.
Why don't we do it in the road?
Why don't we do it in the road?
Why don't we do it in the road?
Why don't we do it in the road?
No one will be watching us
Why don't we do it in the road?

Kill me.

WHY PAUL GOT AWAY WITH IT: He didn't really, the white album was so fucked up already and so many people were busy discussing the LSD induced stupor of Revolution #9 that I'm fairly sure most people forgot this song existed the second it ended.

Except me, unfortunately.


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