Abu
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Post by Abu on Jun 12, 2013 8:40:18 GMT
What is your favorite part of a particular Dan (or Fagen/Becker solo) song? The vocasl? A clever line (lyrics)? Guitar solo? Enter it here...
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Abu
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Posts: 11
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Post by Abu on Jun 12, 2013 8:47:06 GMT
I'll start it off with my favorite part of Donald's title track to The Nightfly. I just love the part with the lyric "It was you.... you... it was you... Tonight you're still on my mind". Musically, it is just an awesome melody, with Donald's voice never sounding better. The entire middle section (bridge?) is great, but I especially like the end part, just mentioned here. Anyone else love this part of the song?
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Post by Shark DeVille on Jun 12, 2013 15:27:00 GMT
good call Abu.
The Nightfly plays jazz and plays it cool, a bit like Fagen himself... then he drops the line you mention and is instantly given so much depth. it's quite rare for Donald (and Walter) to write about love or heartache, and totally unexpected in a song about a jazz DJ. the whole album is sort of Donald revealing a side of himself that most people didn't know existed, and his subsequent solo albums expanded on that.
similarly, I love the bridge on Green Flower Street. such a transcendent part of an otherwise gritty urban minor blues:
There's a special place for lovers, one we understand
there where neon bends in daylight sky...
In that sunny room she soothes me, cools me with her fan
we're drifting... a thousand years roll by
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Post by steelyfax on Jun 12, 2013 19:23:30 GMT
On the DF theme, how about "Tomorrow's Girls" and the section that begins "in the cool of the evening"? That is so cool!
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Post by steelyfax on Jun 12, 2013 19:26:53 GMT
Or more recently: "a futurescape of bright arcades in which I bring off heroic escapades".
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Post by steelyfax on Jun 12, 2013 19:27:46 GMT
Pretzel Logic: "I stepped upon the platform ..." etc.
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Abu
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Posts: 11
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Post by Abu on Jun 12, 2013 20:50:10 GMT
On the DF theme, how about "Tomorrow's Girls" and the section that begins "in the cool of the evening"? That is so cool! Wow... I agree 100 percent. I posted on the BB about two years ago an extensive thought on the very same portion of Tomorrow's Girls. Pure genius! The girls backup vocal part about the warm summer breezes is the most amazing backup vocal part EVER, IMHO. I will copy and paste my extensive commentary on that when I find it. The entire middle section, with Donald changing from major to minor (I believe) is F@*!ing FANTASTIC. In the warehouse. |
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Abu
New Member
Posts: 11
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Post by Abu on Jun 12, 2013 21:09:56 GMT
On the DF theme, how about "Tomorrow's Girls" and the section that begins "in the cool of the evening"? That is so cool! Wow... I agree 100 percent. I posted on the BB about two years ago an extensive thought on the very same portion of Tomorrow's Girls. Pure genius! The girls backup vocal part about the warm summer breezes is the most amazing backup vocal part EVER, IMHO. I will copy and paste my extensive commentary on that when I find it. The entire middle section, with Donald changing from major to minor (I believe) is F@*!ing FANTASTIC. In the warehouse. Below is my post from the BB on February 1, 2011: "There is something about the bridge in DF's "Tomorrow's Girls". I am always drawn to it. First of all, the way he leads into it. I'm not musically-inclined... what I mean is, I don't know all the correct musical terms. Leading into the bridge, DF plays two notes on the offbeat at 2:18, then 2:20 the horns take it into the bridge. I'm thinking that this a key change (perhaps from major to minor?) .....WHAT I LOVE THE MOST #1: How the horns play the sustained note for several beats, gradually fading out. Meanwhile, WB (on bass) plays one note, then a lower note twice, while Leroy Clouden (drums) taps the snare on the rim (or is it on the wood block?) and hits the bass drum twice, in unison with the double note on bass, the rhythm section repeating this pattern as the backdrop of the entire bridge. While the horns are fading out, you become aware of DF's electric piano, softly playing what sounds like three wonderful notes. Occasional exotic-sounding percussion plays in the background. At 2:36 DF starts singing "In the cool of the evening, in the last light of the triple sun..." during this first line, Fagen hits the keys stronger once, then twice (all the same notes, possibly a chord?) At 2:54, when DF starts the line "soon the warm night breezes" the acoustic piano plays a beautiful sequence of notes, which one gets the feeling is the warm night breeze itself.... then....WHAT I LOVE THE MOST #2: At 2:57 the female backup singers come in with arguably the most heavenly of Fagen backup singer writing, singing "warm night breezes rolling in off the shore". While they are singing, the horns play in the background in harmony, building to the climax of the bridge, at 3:00, when DF and the girls all sing "Yes at lantern time, that's when you come to me". This incredible climax includes some stronger notes on horns, and then a higher-pitched "come to me" by one the girls. AMAZING STUFF, this! Then DF and WB on guitar ushers in the key change, back to the home key once again. It is hard to describe the feeling I get when listening to this sequence in this particular tune. I think it is a perfect example (of many, I'm sure) of Donald Fagen's genius. We keep coming back for more, and never tire of it!" |
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Post by kuleebaba on Jun 13, 2013 6:34:08 GMT
So many moments in Caves of Altamira. Something different about the drum rhythms there And the high horns at the beginning are just so tasty.
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Post by steelyfax on Jun 14, 2013 19:25:47 GMT
So many moments in Caves of Altamira. Something different about the drum rhythms there And the high horns at the beginning are just so tasty. Very true. When you listen to the demo version, it's amazing to hear how much the song has developed. |
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Post by steelyfax on Jun 14, 2013 19:28:27 GMT
Wow... I agree 100 percent. I posted on the BB about two years ago an extensive thought on the very same portion of Tomorrow's Girls. Pure genius! The girls backup vocal part about the warm summer breezes is the most amazing backup vocal part EVER, IMHO. I will copy and paste my extensive commentary on that when I find it. The entire middle section, with Donald changing from major to minor (I believe) is F@*!ing FANTASTIC. In the warehouse. Below is my post from the BB on February 1, 2011: "There is something about the bridge in DF's "Tomorrow's Girls". I am always drawn to it. First of all, the way he leads into it. I'm not musically-inclined... what I mean is, I don't know all the correct musical terms. Leading into the bridge, DF plays two notes on the offbeat at 2:18, then 2:20 the horns take it into the bridge. I'm thinking that this a key change (perhaps from major to minor?) .....WHAT I LOVE THE MOST #1: How the horns play the sustained note for several beats, gradually fading out. Meanwhile, WB (on bass) plays one note, then a lower note twice, while Leroy Clouden (drums) taps the snare on the rim (or is it on the wood block?) and hits the bass drum twice, in unison with the double note on bass, the rhythm section repeating this pattern as the backdrop of the entire bridge. While the horns are fading out, you become aware of DF's electric piano, softly playing what sounds like three wonderful notes. Occasional exotic-sounding percussion plays in the background. At 2:36 DF starts singing "In the cool of the evening, in the last light of the triple sun..." during this first line, Fagen hits the keys stronger once, then twice (all the same notes, possibly a chord?) At 2:54, when DF starts the line "soon the warm night breezes" the acoustic piano plays a beautiful sequence of notes, which one gets the feeling is the warm night breeze itself.... then....WHAT I LOVE THE MOST #2: At 2:57 the female backup singers come in with arguably the most heavenly of Fagen backup singer writing, singing "warm night breezes rolling in off the shore". While they are singing, the horns play in the background in harmony, building to the climax of the bridge, at 3:00, when DF and the girls all sing "Yes at lantern time, that's when you come to me". This incredible climax includes some stronger notes on horns, and then a higher-pitched "come to me" by one the girls. AMAZING STUFF, this! Then DF and WB on guitar ushers in the key change, back to the home key once again. It is hard to describe the feeling I get when listening to this sequence in this particular tune. I think it is a perfect example (of many, I'm sure) of Donald Fagen's genius. We keep coming back for more, and never tire of it!"Great post! |
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Abu
New Member
Posts: 11
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Post by Abu on Jul 3, 2013 8:56:14 GMT
Thanks, steelyfax! That part of Tomorrow's Girls is just one of my ultimate faves, I never tire of it. All of those elements make it that way, to be sure.
Here's another one: The vocals in the bridge of Pixeleen. A nice little duet develops between the featured vocalist Carolyn Leonhart and Donald.
Flashback to cool summer nights
Freddy can we cut to the chase?
In the room above your garage
Everything about me is different
Symmetrical and clean
Exquisite!!!!
Abu
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