"Girl Help Me"

At the end of "Girl Help Me," "you" in the final "Help me; I, I can't think of nothin' but you" is held while the instruments naturally fade out, and in a way, this situation demonstrates the exclusivity of "nothin' but."

"Visions of Johanna"

Backdated, archival post

[link to original on tumblr]

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Collection Audit:

This morning I listened to the first disc of Bob Dylan's Blonde on Blonde (and I'm listening to the second disc now).  I found something in "Visions of Johanna" that both excited and confused me. 

At about 3:49, there's a short guitar riff: 

 

This is the fifth song I've found that riff in (which is the exciting part), but now I have even less of an answer to questions of influence (which is the confusing part). 

I first found that riff in the Zombies' "Telescope (Mr. Galileo)" (there are two versions on Into the Afterlife, but that riff is only in the second version - the one with fuzz guitar).  Then I found it in the Moody Blues' "So Deep within You" from On the Threshold of a Dream.  A few months later, I stumbled across it in the Tremeloes' "Hello World."  And then I also found it (albeit on piano) in Colin Blunstone's "Caroline Goodbye" from One Year. 

"Visions of Johanna" predates all of those though.  It's from 1966.  "Telescope (Mr. Galileo)" is from 1968 (but wasn't released until 2007).  "So Deep within You" and "Hello World" are both from 1969, and "Caroline Goodbye" is from 1971. 

I'd postulated that there was some influence between "Telescope (Mr. Galileo)" and "So Deep within You" because the Zombies and Moody Blues knew each other, and there's almost certainly some connection between "Telescope (Mr. Galileo)" and "Caroline Goodbye" because Rod Argent was the leader of the Zombies and played piano for Blunstone (who was also in the Zombies).  I'd had trouble fitting in the Tremeloes though. 

Finding that same phrase in this Dylan song still doesn't clear up everything, but it does introduce a new line of influence.  The Tremeloes covered Dylan's "I Shall Be Released" at the end of 1968, so they were familiar with him, possibly including that particular riff in "Visions of Johanna." 

A strumming pattern in "Visions of Johanna" also stuck out to me.  I'm not sure if I have the chord phrasing right, but it's something like: 

 

There's an Asus4 that modulates to an A major.  With a slight difference (modulating to A minor rather than A major) that same rhythm is in the Zombies' demo of "Call of the Night": 

 

"Call of the Night" was later re-workt into (and put into a different key for) "Girl Help Me," but that feature is present there too. 

I'm not sure if any of this really provides evidence that any of these musicians were influenced by an-other, but their songs at least share some similar features that I thought interesting.

I found more stuff about that riff in "Telescope (Mr. Galileo)" and "Caroline Goodbye," but it doesn't really clear anything up.

I might have found a Dylan influence on "Call of the Night"/"Girl Help Me" though.

"Girl Help Me"

Backdated, archival post

[link to original on tumblr]

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I'll re-iterate what I said with the rough version of "Call of the Night," this is a re-working of "Call of the Night," but I consider it different enough to separate the two.

I do mess up once, but this was already the second take, and - unlike the version in A minor - there is no other way to play this but barre chords, which are tiring.

Although, listening to the original, the first Gm chord is much higher than I play it, so maybe there is a way to play it while avoiding barre chords.  Something to look into….

A major

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[link to original on tumblr]

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Also, I'm not sure how accurate this is, but every suspended chord that I've encountered in the Zombies' repertoire so far has been around an A major.

• The end of the solo in "She's Not There" (Asus4 to A major)
• The very end of "A Rose for Emily" (Asus4 to C# - ending on A major's third)
• The guitar part in "Call of the Night" AKA "Girl Help Me" (seemingly constant variation between Asus2 and A major during the verses)
• A very small guitar part in "I Don't Want to Worry" (an Asus2 thrown in between two A majors)