No Common Ground

We’ll be back soon with words we’ve adapted from well-known and not-well-known writers, but it seems like a good time* to post this recent performance of a Dave Moore song.

I was looking at some other poems and words apropos of winter, Black History Month and romantic love yesterday. I think I’ve found some too. You should see some of what I make of this later this month.

Still, I made the decision to use “No Common Ground”  late last night—Dave doesn’t even know it’s going up here—and so I haven’t given him an opportunity yet to tell you anything about it. I’m going to even that out by not telling you anything about his words myself either. The song speaks for itself.

But of course I have to say something, so I’ll talk about the musical performance. This started out with Dave singing it live, one-take. There was a “scratch” keyboard track too that he played as he sang, as well as the drums. I took this performance and created the arrangement you’ll hear below, adding bass (both electric bass and bowed contrabass), a string section, a few electric guitar licks, a synth pad, and the vibraphone part. The whole thing is around a dozen tracks, which by modern digital recording standards is not complex, but then my goal here was to make it sound no more complicated than conventional rock combo instrumentation.

In the course of the Parlando Project I’ve grown attached to writing bowed string parts while retaining a conventional rock’n’roll rhythm section. When I charge myself with putting on airs, I argue with myself that I grew up on Leiber and Stoller productions which used strings, and that Charles Stepney** and other R&B producers extended this idea.

Strings in Rock'n'Roll

Common Ground and basso ostinato.  Leiber and Stoller at the piano, and standing behind: Lester Still, Jerry Wexler, the Coasters, and Ahmet Ertegun. On the right side: Charles Stepney, a composer/arranger/musician who should be better known.

 

Real orchestral composers will recognize that I’m not all that sophisticated in my parts here, and most always elsewhere in this project too. Part of that is working within my limitations and resources—but part of that is intent. To hear the intent and Dave’s song, use the player below.

 

 

 

 

* No broadcast joint-congressional speeches or elderly rich and tender egos were harmed in the making of this song or post. Offer void where prohibited. Opinions are worth actual cash value only. Contents may settle during shipment. Free your mind and your ass will follow. The best lack all conviction, while the worst are full of passionate intensity. The modern day composer refuses to die!

**Long-time readers here know that I’m a bit of a bug about Charles Stepney. There’s a lot I don’t know about him and his work, but some of his arrangements connected with me from the first time I heard them in 1968. There’s a bit more about him here, here, here, and here. I wasn’t thinking about it when I was looking for a instrument to carry a more percussive melody line in the arrangement and chose the vibraphone, but vibes were composer/arranger Stepney’s original instrument.

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a new mix of On the Troop Ship to Gallipoli

I don’t plan on making a habit of this, but the next morning after I posted the audio piece where I perform an “Imagist” revision of Rupert Brooke’s late fragment written shortly before his death while serving in WWI,  I wanted to change a few things about the mix.

WWI troop ship

Soldiers on a  World War I troop ship in transit

What’d I change? I delayed the entry of my piano part to a few bars later. I remixed the concluding electric guitar part entirely, it’s now a bit more forward in the mix. And finally I added an E-Bow electric guitar top line over the final section. Why did I make those changes? Just trying to give the piece a bit more sense of “build” as the troop ship steamed along carrying Brooke and his fellow soldiers to the disaster that would be the Gallipoli campaign. The newly added E-Bow part is probably the biggest change. The E-Bow is a clever gadget that magnetically drives a single instrument string as if it was excited by a bow. As the name suggests, it’s sometimes used to give the effect of violin or viola sound coming from a guitar—which Jimmy Page and Eddie Phillips aside, is not designed to be bowed, however I think the part I played sounds less like a orchestral violin and more like an overblown free-reed instrument.

In composing the music for the Parlando Project pieces, I like using different sounds like a writer might use different images or connotative words in text. If you listen, low in the background of the mix I have a Mellotron flute part. Of course this late 20th Century instrument would not have been known to Brooke and his fellow troops, but for those late 20th Century people a low Mellotron flute part brings to mind (ear?) The Beatles “Strawberry Field Forever” or “Lucy in the Sky with Diamonds” or other English rock band recordings of the 1960s, so I was trying to bring in some sense, however anachronistically, of the soldiers thinking of home, and then at end I add that much louder, strident and free-reed sound from the E-bow guitar part.  Similarly my fizzy guitar phosphorescent plankton bow-wave and electric bass thrumming ships engines. Hope it all works for you.

The new mix replaces the old one as of early this morning. To make it easy to hear the new mix, I’ve embedded the player to hear “On the Troop Ship to Gallipoli” below. The explanation of how I revised Brooke’s words, as if he’d been edited by Ezra Pound or had lived long enough to embrace the ideas of modernist poetry, is covered in the previous post here.