[link to original on tumblr]
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"What Becomes of the Broken Hearted"
The thing I realized about this song is that I sort of forgot about it. Colin Blunstone recorded this in (I think) the 1980s, but I don't have that recording (an-other reason to get his Collected set), so this song has sort of slipt through the cracks in this project. I have three live versions though: this one on Live at the Bloomsbury Theatre, London, one on Odessey and Oracle: Revisited, and one on Live at Metropolis Studios."Beechwood Park"
Because I know the parts to a lot of Zombies songs, I can mentally compare the live versions with the original arrangements, and one section of this is significantly different. In the original, the bass part under "And the breeze would touch your hair / Kiss your face, and make you care" is:
But on Live at the Bloomsbury, that bass part is:
The rhythm is standardized in the Live at the Bloomsbury version, but the tonality is a bit more interesting. In the second measure, the G note is in a lower octave, but its novelty probably comes just from its being different from the album version. In that last measure though, instead of a G note, there's a D. In the album version, the bass notes (aside from the second in each pair of quarter notes) are just the root notes of the chords they're beneath (E minor / D major / C major / G major). In the Live at the Bloomsbury version, those chords stay the same, but because that G changes to a D, there's a slightly different tonality. It doesn't seem as resolved as the part is in the Odessey and Oracle version, so - to some degree - that note's not being the root makes you pay attention and sustains that attention until "Make you care" is completed with "About your world." It helps to bridge that line break.
Or maybe I was just really excited that I figured out this different part in my head, and now I'm trying to divine a reason for it.
"She's Not There"
I'd noticed before that Keith Airey plays the riff from the Beatles' "Day Tripper" during his solo, but after listening to it this time, I started wondering about the keys. "Day Tripper" is in E major, but "She's Not There" is in A minor. Here, the "Day Tripper" riff is played in A major, which skews the key a bit (I think "She's Not There" has a lot of accidentals anyway), but it is still an exact quote from "Day Tripper," just not the one I'd always thought it was. "Day Tripper" starts out with that riff in E (which is what I thought Airey was quoting), but later it's raised a fourth, so it's effectively played in A major (although both have accidentals; it's in E major, but the second note in a G natural). That phrase raised a fourth is what Airey plays too.
