I love the androgynous sound of expertly controlled male pharyngeal and mix voice. For my money, Orbison has no popular music parallel in his ability with this style, but Peter Cetera gets it going here and there during peak moments of this incredibly well-written song. Besides the great vocal work, the perpetuity and inexhaustibility of the unresolving, consecutive hooks is one of the most elegant and difficult to smoothly execute songwriting techniques. It has its roots in Bach (constant, interesting propulsion) and works so subliminally in this piece made famous by Chicago. Did I mention that the changes exquisitely employ chords outside of the key, and a whole key change for the last chorus/outro in an enviably natural way? This is my current favorite song. Thanks, Mally Jones for really turning me on to it!
Posted on: Tue, 03 Jun 2014 01:43:33 +0000
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