"Goin' out of My Head"

I was reviewing the bass part for "Goin' out of My Head" this morning (because I need to get around to finishing the notation of it), and I realized something about the choruses.

Years ago, I noted that the "Day and night / Night and day" pairs are temporal merisms; while these two opposites are named, the sense is actually "all the time."  This effect is compounded because the order is reversed between the two pairs (although the second isn't really a pair; the whole line is "Night and day and night").  This morning, I realized that this effect is also emphasized musically because the "day" and "night" of each pair occur alternately on and off the beat.  In the line "Day and night," "day" is sung on an upbeat, and "night" is sung on a downbeat.  In the following "Night and day," "night" is sung on the upbeat, and "day" is sung on the downbeat.  Both musically and rhetorically, then, these opposites and inversions indicate an entirety.

"It's Only Money Pt. 2" b/w "Candles on the River"

According to Russo's Collector's Guide, fifty years ago to-day (22 June 1973), Argent's "It's Only Money Pt. 2" (edit) b/w "Candles on the River" (Epic S EPC 1628) was released in the U.K.

"It's Only Money Pt. 2" b/w "Losing Hold"

According to Russo's Collector's Guide, fifty years ago to-day (18 June 1973), Argent's "It's Only Money Pt. 2" (edit) b/w "Losing Hold" (Epic 5-11019) was released in the U.S. and Canada.

"I Know She Will"

I recently re-learned Mike Vickers' flute overdub for "I Know She Will" and notated most of it:

At the end, there's a three-note phrase (C# B A), but I'm not exactly sure where in the measure this starts (since the rest of the instruments drop out before then), so I didn't notate that.

It's worth pointing out that in the solo, the last G note is a half note in the flute part but two quarter notes in the guitar part.  I think the solo is also doubled with French horn, which is actually easier to hear than the flute.

"I'll Keep Trying"

 

I'm not sure this was really worth doing because it's so short, but here's the Hohner Pianet solo in the Zombies' "I'll Keep Trying."  The guitar plays basically the same thing, just an octave higher and articulated slightly differently (there are some glissandi between the notes, and the C in the third measure is held longer).  For a bit of context, I also included the bass part.

"Andorra" b/w "Caroline Goodbye"

According to Russo's Collector's Guide, fifty years ago to-day (4 June 1973), Colin Blunstone's "Andorra" (edit) b/w "Caroline Goodbye" (Epic 5-11004) was released in the U.S. and Canada.

"How We Were Before"

Earlier this week, I wrote out the bass part for "How We Were Before."  In doing so, I discovered a couple notes I'd been playing wrong and also an odd measure of 6/4 at the end of the verses (the last measure in the second line).  As always though, there's the disclaimer that I may have something wrong.

"Whenever You're Ready"

Last week, I wrote out the notation for the bass part in "Whenever You're Ready."  I noticed before that writing notation forces me to pay closer attention to parts, and while writing out this part, I discovered a significant contrast between the verses and the bridge.

For most of the verse, the rhythm is two dotted quarter notes and two eighth notes:

(Many other Zombies songs feature a similar rhythm, including "I Can't Make Up My Mind," "Tell Her No," "I'll Keep Trying," "If It Don't Work Out," and "Time of the Season," although some of these substitute a single quarter note for the two eighth notes.)

The bridge retains this rhythm for the first half of each measure, but the second dotted quarter note is often tied to a regular quarter note (although the program I used to make this notation tied an eighth note to a half note instead):

There's a contrast between the rhythms of these two sections, and this mirrors the lyrics in the bridge:  "But if you call me / You've gotta treat me in a different way" (my italics).  To some degree, this difference is even emphasized because some of the pitches occur in the same order (E F Bb, in the tenth to twelfth measures in the verse and in the second to fourth and eighth to tenth measures in the bridge), making the contrast a bit more obvious.

Here's a scan of the complete notation, with the disclaimer that I may have something wrong:

"I Want Some More" b/w "Pay Me Later"

According to Russo's Collector's Guide, fifty years ago to-day (20 April 1973) Colin Blunstone's "I Want Some More" (edit) b/w "Pay Me Later" (Dut. Epic EPC 1513) was released (I'm assuming the "Dut." abbreviation means it was a Dutch release).  The U.S. and Canada release (Epic 5-10981) was on 23 April.

"Remember You" [soundtrack version]

I wrote out the bass part for the soundtrack version of "Remember You" years ago, but recently, I did it again.  My intent was just to make a better looking copy, but in comparing my old notation to the recording, I discovered that I had some notes in the wrong octave.  What I have now is more accurate, although there's still the disclaimer that I may have something wrong.

"I Must Move"

Here's the notation for the bass part in "I Must Move," with the disclaimer that I may have something wrong.

"She's Coming Home"

I recently wrote out the bass parts for some Zombies songs, which I'll be posting over the next few days.  As always, there's the disclaimer that I may have something wrong.  Here's "She's Coming Home":

I squeezed in the last four measures so I didn't have to use a second piece of paper.