Encore

I watched the Beatles movie A Hard Day's Night yester-day (partially because this month marks its sixtieth anniversary), and it gave me an opportunity to write about something I'd realized last year but forgot to write about here.

The cover of Argent's Encore shows a number of film strips of various shots of the group playing live:

This is the same basic idea as one scene during the press conference in A Hard Day's Night where a photographer takes multiple pictures of George Harrison as he makes various faces and the movie shows the resulting film strips:

I don't know if this was the intent for Encore, but there's certainly a resemblance between the album cover and this shot in A Hard Day's Night.

When I was thinking about this again yester-day, I realized that the back cover of the Zombies' I Love You album uses this idea, too.  Here's a scan of the CD booklet (in which the back cover of the record sleeve has become the inside back cover), showing the group playing live on a television show in Sweden in November 1966:

According to the liner notes of the CD, this compilation album was originally released only in continental Europe and Japan since "Decca's affiliates in other countries were aware of the band's status and the need for a second long player, but the band apparently lacked the necessary profile at home to be taken seriously by the label."  Because of these circumstances, I doubt that the Zombies themselves had any input in the design of the album cover, but the similarity to the shot in A Hard Day's Night still seems to point to the Beatles' influence.

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For what it's worth, here's a post about the cover of Begin Here, which also seems to indicate a Beatle influence, and here's an-other post about the front and back covers of I Love You, where I detail some investigation I did on these pictures.

"Nothing's Changed"

Yester-day, I was thinking about Smokey Robinson & the Miracles' "The Tracks of My Tears," specifically the line "My smile is my makeup I wear since my break up with you" at the end of the bridge, which is sung to a melody something like this:

I realized that there are some similarities between this and the keyboard solo (Hohner Pianet + Vox Continental) in the alternate take of "Nothing's Changed" (track 15 on disc 3 of Zombie Heaven), which is something like this:

Both consist primarily of a repeated set of descending triplets (although the intervals in the two parts aren't the same), and both start with an eighth note pick up and an ascending fourth.

According to the Zombie Heaven liner notes (p. 52), the Zombies performed "The Tracks of My Tears" live, so it's possible that the melody and rhythm of the vocal part here had something to do with Rod Argent's keyboard solo in "Nothing's Changed," even if merely subconsciously.

"So Much More"

This is just a minor point, but the line "Ev'ry night and ev'ry day" in "So Much More" contains a temporal merism.

Also, this is my 1,000th post on this blog.

"The Best Is Yet to Come"

I listened to Colin Blunstone's On the Air Tonight last week and noticed a handful of small features.

In the line "You say the words that help me carry on" in "The Best Is Yet to Come," "on" is sung with a melisma (A E G), giving a sense of that continuation.

In the line "'Cause it's hard, but it's the same for ev'ryone," "ev'ryone" is sung with a melisma, giving a sense of breadth.  Initially (at ~0:41 and ~1:44), it's A G A B, but later in the song (at ~2:56), it's E F# E B C# B.

In the line "When ev'rything is wrong, hold on," the three syllables of "ev'rything" are all sung to different pitches (C B A), providing a sense of that breadth.