Chain Of Fools Analysis

This song was written by husband and wife team Jeff Barry and Ellie Greenwich, and the producer Phil Spector. Tina’s voice was believed as the perfect voice for the song and for the wall of sound. Spector went all out to make the song as famous as his last hits were, but unfortunately, it didn’t turned out as he expected (Robert Webb). Since, the song only made it to the top chart of the UK and was unsuccessful making at the top of United States’ chart position (nonetheless, slowly overtime it did got accepted as a classic music in America too). However, the song did reflected the wall of sound recording technique every “Individual instruments [were] largely indistinct; instead the soaring onslaught of a seemingly infinite number of instruments and backing vocals chugs along with Tina shrieks atop the proceedings” (Bill Kopp). Basically, he used the same technique that he utilized in his earlier recording of combining all sounds of different instruments into single sound to make indistinct sound along with doing pre recording

This creates a beautiful blending of the two parts together and shows that this song was written to showcase the vocals.

The song opens with a heavily gated bass line, this was done live many times before the recording, but it was the new gating technology that was mentioned earlier that allowed them to get the tick tock

Most successful musicians know a hidden art carried out by the work of a good sound engineer; it is essential for a magnificent album. For the rest of us novice listeners and fans, we believe what we hear through our speakers or played over the radio are the true skilled professional musicians, soaring at their craft. Most contemporary music, from pop to R&B and acid jazz to the sophisticated realm of orchestral film scores, has been modernized by several inventions encased within the studio. The art of audio engineering has taken on new forms, from the nuts and bolts, "plug it in, and see if it works" era into the digital world, because of these wonderfully tragic solutions to a

Mac Miller made a spin off of the original song in his mixtape, K.I.D.S. It is a very upbeat, good mood, summer nights type song. It is not the typical rap song. If you were to hear the beat by itself you would never guess it would be turned in to a rap song. The whole song has a stead drum beat in the background that he song is formed around. It is the type of beat that you cant help but nod your head back and forth. It starts off with just the drums and keyboard before for the first verse along with Mac saying a couple random remarks. Suddenly the entire band jumps in and plays along to the beat of the drums. If your head is not already nodding to the beat of the song, it is now. The verse continues and the music goes back to just the beat of the drums, keyboard, and Mac’s lyrics. Then the background singers chime in with the rest of the band for the hook “Oh, oh, oh Honey I need you ‘round I know, I know”. The song goes on to the next verse and follows the same pattern of going back and forth between just the drums and keyboard in the background to the whole band with the background singers. Later in the song it gets to a part from the original song, “Half Mast”. It starts like, “Hear me out...” and that is what would be considered the bridge. After the bridge, the hook is repeated twice and is followed by a few words from

First, the overall tone in all three pieces was phenomenal, but there were a couple spots during the performance that were not as amazing as the rest of the performance. In the first song, Hamilton by Jerry Brubaker, it was hard to hear certain sections

As this was meant to be as realistic as possible, the low budget did them wonders. The color, I believe would also go into the realism aspect, as to my eyes, the colors seemed washed out and bleak. Now finally, the sound, there wasn’t too much out of the norm here. The music did its usual job of setting the tone with the film, but in my honest opinion, it did not add to my emotional experience.

The sound in this early part of the scene is very direct -by the means

At the very beginning of the piece, it was a little bit shaky as the brass was a little bit too loud over the winds. The alto solo at measure 5 was played over the band though and that set a good tone for the piece. At measure 13, there was a good blend between trumpets, trombones, and flutes. At measure 31, the clarinets and alto saxophones did a good job carrying the melody. At measure 51 the band did a good job of letting the trumpets play the melody in the piece. At measure 59, the trombones were the clear melody and they played at an appropriate dynamic marking. At measure 67, backgrounds were overplaying a bit and the nice flute melody was covered. The trumpets did a good job of controlling the melody at measure 73. At measure 101, the band did a good job of contrasting the flute melody because the other sections of the band came in quietly. The alto saxophone and clarinet melody at measure 120 was played above the rest of the band, but if could have been a little bit louder. From measures 128 to 140, it was hard to distinguish a certain melody. The trombone melody at measure 148 could have been cleaner and louder as it was hard to listen to in the recording. The rest of the piece had a good melody, though as it was mainly carried by trumpets and winds. Overall, the band blending could have been a little bit better, but it still sounded

Darlene, played in a happy upbeat major key opens with a “one, two, three, four” allegro tempo count-in from John Bonham, which gives the song quadruple meter. Very similar to the take that eventually surfaced on “Coda”, it pummels along in friendly conjunct legato form, live in the studio style. This is clearly a consonant harmony, exemplifying verse and chorus form. Robert Plant’s vocal mix set can be detected after the “Pink carnation and a pick up truck” line. From that point he accompanies Jimmy Page’s delightful fortissimo solo adding, “I don’t care what they say, I love you anyway, I’ll drive you wild .” Like most of these Polar mixes, instead of fading out; the homophonic track grinds to a halt with a tinkling of John Paul Jones’ electric piano played mezzo forte.

and beats. The guitars and drums that were used, give the song a dramatic rock vibe. According

a. The music website Allmusic classifies The overall sound of Dubstep is classified as “tightly coiled productions with overwhelming bass lines and reverberant drum patterns, clipped samples, and occasional vocals” (Bush 2012). (Insert sound clip here)

Immanuel Kant, author of From Critique of the Power of Judgement would state “… its relation to the object, is its aesthetic property…” (Kant411). Here relationship is important in terms of how the aesthetics will be brought out. In order to provide that aesthetic property in the video, they open with a reverse spotlight-that is, instead of a white spotlight that allows the viewer to clearly see the singer, it goes from white to red to white again, but the light is never amplified. The near pitch black performance forces the audience to focus on the performance rather than simply enjoy it for pleasure. Thus emphasizing and resonating the singer’s powerful vocals throughout the arena. It invokes the senses, tantalizing and intriguing them to pay close attention to the band’s every note and word.

After Acid House was created in 1987, a lot of different styles were emerging and

record 47 guitars on this song, mix it down to a stereo sample, then run it backwards, record another 20