Quote:
Originally Posted by bombaysaffires
Silver Springs is the text book example of this. The singer starts out remembering all the beautiful things she had hoped for the relationship in the beginning, and then, bam, "and don't say that she's pretty…." etc… and you go whoa, this isn't gonna be a happy story after all. The arrangement supports that emotional shift by going from quieter and softer to a fuller band arrangement. But it's hurt, sad, you broke my heart with this other woman, then there's the guitar solo, and then she comes back in with angry words now.. like she had time to think about it during that guitar solo and now she's MAD. And it's like, I'm not gonna sit here and cry over you, I'm gonna get even-- "I'll follow you down til the sound of my voice will haunt you…' etc.
So by the end of the song she's taken you on a journey from shocked, devastated, to sad, to mad.
|
GDW does this as well, which is what I think keeps it from getting stale during live performances. The movement in tempo, emotion and engagement. It holds up over the years while
Dreams (still a stellar recording) doesn't.
Michele