A Google search turned up the snazzy website of founding member Mick Abrahams and, much further down the page, their mySpace. Abrahams, a former member of Jethro Tull, had left Tull in 1968 over creative differences and founded the Pig. At the time, Tull was headed into flute-loving folk-rock and Abrahams just wasn’t interested. Blodwyn Pig’s modern blues/jazz sound was fresh and exciting, compared frequently to such better-known musical pioneers as Frank Zappa, and was part of the 70s edge into Prog and Art Rock. Yet, in Europe at least, they managed to grow a mainstream audience as well, appearing on popular UK programs like Top of the Pops.

On their myspace and elsewhere, Abrahams tells some awesome stories of hilarity, madness and debauchery while on tour and in the studio. They released two albums, toured the U.S. twice, and were poised for big, big things. Unfortunately, the good times came to an end because of his crippling fear of flying (or rather, as he says, of crashing) and the other members unceremoniously booted him in 1970. Karma turned around and kicked them in the ass, and within seven weeks the Pig was no more. There was a brief, not-that-successful reunion in 1974, and since 1988 Abrahams has occasionally reconvened the Pig with various former members. He also plays with rotating band members as the Mick Abrahams Band.

Listening to Abrahams’ solo stuff on squirrelmusic.com, his guitar playing reminds me quite a bit of his contemporaries Eric Clapton and B.B. King. However, with Blodwyn Pig, the sounds and influences are varied and sometimes subtle. On 1969’s Ahead Rings Out the jazz groove of Jack Lancaster’s dual saxophones (seriously, you have to watch this to believe it) melds with Ron Berg’s crashing rock drums to create something that I’m pretty sure was out of the norm for that year: “The Modern Alchemist”.

“It’s Only Love”, from the same album, is very much a blues song but also has a strong Big Band influence, with an emphasis on the high-hat in the drums, and a prominent horn section, in addition to Abrahams’ excellent blues guitar. My grandparents would have no problem at all dancing to this song.

Blodwyn Pig took advantage of each technological advancement they could afford, recording Ahead Rings Out on 8-track and 1970’s Getting To This on 16-track. They were also creative in getting just the right sound, even when the recording and filtering equipment was not yet dreamed of. On “Dear Jill”, a song featured in the movie Almost Famous, Abrahams explained, “by double-tracking the guitar, which was an Ecko 12-string with only 9-10 strings on it (depending on my mood or how many strings I could afford on the day) it sounded akin to a modern chorus effect pedal.” (Liner notes to 2001 re-issue of Ahead Rings Out, via Wikipedia.)

Additionally, on Getting To This, Abrahams says, “I did sing a verse of “Variations on Nainos” with my head in a bucket of water with a mike positioned over it!” (From Blodwyn Pig’s mySpace.) “Variations on Nainos” is an experimental jazz type song with a Swingin’ 60’s vibe (it could be in the background of an Austin Powers scene with no dissonance). The bucket verse — double-tracked “with the same bucket,” by the way — appears around the 3:10 mark below.

Again reinforcing the idea that Blodwyn Pig could not be pigeonholed, “Same Old Story” touches into psychedelia and the Indian rhythmic and melodic influences of the time, but in areas with a harder edge than taken by other bands.

If you’re interested in further listening, the mySpace page jukebox features four songs, and there is quite a bit more, I believe, on Abrahams’ own site, including his solo work. But between YouTube and imeem.com, it is possible to hear just about everything for free. There’s also quite a bit available on iTunes, should you be so inclined, although not the first two records–live albums and an anthology.

I think that, should Taylor Hicks choose to do the research and select from the more heavily blues-influenced Blodwyn Pig songs, he could indeed have a hit on his hands. What might be more useful to him is a songwriting collaboration with Abrahams, who is still active and whose current music I find more compatible with Hicks’ style.

So what is a Blodwyn Pig? I’m not really sure. Blodwyn is a Welsh first name meaning “white flowers” or “blessed flowers”, usually female although one site lists it as male. We all know what a pig is, but I’m not able to analyze the band name beyond this point. Abrahams does not explain the origins of the name (assuming he even remembers at this point), so it may be impossible to know.

One artist capitalizing on this trend is Billy Redfield, a singer/songwriter from Baltimore, MD. Redfield released Made You Smile, a five-song CD in 2005, followed up by his first full-length studio CD, Two Steps Closer in 2006. He has sold nearly 15,000 copies of his music independently, including hard copy and digital sales. He has won a number of awards for his music, including honorable mention in the prestigious International Songwriting Competition for his track “Die for You.”

Redfield’s voice is unique, soothing and passionate at the same time. His lyrics are thoughtful and the melodies are catchy.

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Two Steps Closer is filled with acoustic ballads, such as the heralded Die for You and Miss Melissa and a smattering of pop-friendly tunes, like Lost and Naked. On his myspace he writes, “I write from a personal point of view; it’s what I know best.”

Redfield encourages his fans, known as the Redheads, to spread the word about his music. He uses his myspace to connect with fans, and encourages them to stay in touch with him through his myspace, AIM, and email. He says on his site, “Most artists and bands have no connection with their fan base. I think this is ridiculous because it’s the fans that make the band. Without fans your music will get you nowhere. So please introduce yourself to me and I will get back to you.”

Recently, OFTV’s Uhadmeatwoohoo presented Redfield with a few questions:

What would you consider to be the biggest influence on your musical style?
I believe that would be Dave Matthews.

Where is your favorite venue that you’ve performed and why?
So far my favorite venue is The Recher Theatre (Towson, MD) because it’s the biggest one I’ve played at.

What is the first album/record/cd you ever purchased?
Not sure but I remember being into rap when I was younger. It might have been a Snoop Dogg record.

Who are your musical role models?
Dave Matthews, Bruce Springsteen, and Jimmy Buffet.

Who is your favorite musician that you’ve performed with?
I haven’t really performed with many yet. So to answer your question I don’t have one.

What do you think about iTunes and changes the internet has brought to purchasing music?
I think it’s great. It allows independent artists the ability to sell their music and it is very convenient for the customer.

What are your plans for the upcoming year?
Keep building, building, and building a bigger fan base. Try to get to the point where I am selling out venues. Keep trying to get to the next level. Always trying to further my career and get better at my craft.

What are some unique gifts that fans have given you?
Well one fan sent me a framed picture of an Atlas statue in NYC. I thought that was very interesting.

Tell us a little about the Redheads.
The thing about my music is that it relates to everyone. They come in all shapes and sizes.

Which song that you’ve written are you most proud of and why?
I think Die For You is definitely one of my best songs. I think it encompasses the idea of giving up ones life for love.

What is the best internet marketing idea that you’ve ever used?
I subscribed to a mailing list provider that helps me keep in touch with all my fans.

What is your favorite holiday and why?
I like Christmas the most. I like getting new stuff and the real reason behind it.

Redfield recently took the leap into forming a band, The Billy Redfield Band, and is now performing with drummer Damon Marrow and bassist Stu Lemley.  He is currently working on a new CD, and told Uhadmeatwoohoo, “I have written many new songs which I think blows away my old material. I think you will think so too.”

Redfield’s website is currently under reconstruction, but directs you to his myspace. Or you can visit his facebook page. Visit, take a listen, and leave him some feedback. Who knows, you might even hear from him.

The first thing that came to mind after listening to the title track, ”Keep Coming Back”, was that Marc is bringing funky back! More on this tune later. This CD is a nice mix of up-tempo, mid-tempo, and ballads…all co-written by Marc Broussard.

Marc Broussard (photo courtesy marcbroussard.com)

Two songs on this CD exhibit a familiar theme for Mr. Broussard….being on the road, away from home and loved ones. “Another Night Alone” is a slow and melancholy tune. I favor “Going Home” which includes the lyric “You know I was born to roam”.

“Power’s In The People” is a social/political song about the state of the world today, the plight of the poor, with a message that people can change the world when they get involved. Marc has some soulful background singers with him here. “Hard Knocks” is a great song, a tale of “earning a degree in the street” featuring amazing guitar work and a nice groove.

Two female artists lend their talents on Keep Coming Back. “Why Should She Wait” features Sarah Bareilles and their voices blend nicely as Marc sings about changing his ways and treating his woman better. I prefer the duet with LeAnn Rimes, “When It’s Good”, which has a soulful country vibe.
The mid-tempo tunes are “Real Good Thing”, “Man For Life”, and “Saying I Love You”. The latter two have a hint of 70s soul.

This leaves my three favorite tracks to tell you about. “Evangeline Rose” is a ballad written for and about Marc’s young daughter. This song contains beautiful acoustic guitar and in my opinion is as lovely as Broussard’s fan favorite “Gavin’s Song” (not on this disc) but not quite as emotional for this listener. I have heard rumblings that “Evangeline Rose” will make a great father/daughter wedding dance song…even if the bride’s name is altogether different.
The title track “Keep Coming Back” is up-tempo funk. The best dance tune on the CD, it is featured on Marc’s myspace page player and filled with fantastic horns! The lyric “…listen while the guitar takes a ride” and others are pure fun. I found it interesting that in the CD liner notes it states which brand of instruments are used. Marc plays Gibson and Taylor guitars.
The best song on Keep Coming Back is “Evil Things”. This tune, more than any other, shows off Marc’s gorgeous vocals…he sounds vulnerable but not weak. The piano and gentle swells of orchestra strings are brilliant. “You try to hold me but I cannot sit still”….this song is the shining gem on this album.

If you like real music with real instruments delivered with soul and meaning, you will like Keep Coming Back. If you ever get the chance to see Marc Broussard in concert, do not hesitate! He gives 110% and you walk away feeling like you got a steal on the ticket price. Real music and talented writing from a man who seems too young to have it all within his heart, mind, and soul.

Due to rain, the show was moved from Boarding House Park to the Lowell High School Auditorium nearby. I would have loved to have been outside under the September stars but will not complain about the rain. The venue was very close to full except for the balcony and I would guesstimate 500-600 in attendance – more about the crowd later.

The opening act was a trio named Spring Standard from NYC. They were “interesting” to say the least. Not my type, but got respect from the crowd.

Marc came out and said “Evenin’ Ya’ll!” and began his set. He said we were going to have fun and were all going to party. During the course of his 90-minute set he became increasingly happy, relaxed, rowdy, funky and the crowd went nuts for him. He was talkative and we loved his New Orleans accent (must have said “Ya’ll” a dozen times.) His voice was clear and strong, very soulful, and he looked like he was having so much fun.

Marc told us that he didn’t know what he was going to play (no set list) and folks started calling out tune requests. He said to the “Home” shout out, “We’ll do ‘Home’ later on.” A little while later he mentioned not knowing what to sing next and during a lull, I shouted “The Beauty Of Who You Are” (LOUDLY) and he responded “We could do that!” He sang my top two faves - the one I “requested” and “Gavin’s Song” (as his encore) along with crowd favorites “Home,” “Love And Happiness,” “Rock Steady,” and “Come Around.” He highlighted each band member with an intro and solo moment. It is very apparent that this man loves him family, his home, and has much respect for his bandmates. The guitar player was performing with them for the very first time (from Boston) but you’d never know it! In addition to the songs we knew, he performed three songs from the new CD, Keep Coming Back, which will be released on September 16.

The biggest surprise of the night was the crowd. They were amazing and it was sooooooo nice to be among fans who loved the music and were on their feet begging for more. The crowd was REALLY into it and not only did they not mind if you stood or moved around for a better vantage point, they ENCOURAGED IT! Many fans filled the aisles 3/4 of the way through the evening and at least 50 people came down to stand right in front of the stage for Home. Marc loved it and came right to the edge of the stage and wailed, feeding off the energy and giving it all back. There were three women in front of us and in-between the opening act and Marc, they turned and asked me how I learned about Marc’s music. They said none of their friends have ever heard of him and wanted to know how I became a fan. I had to mention Taylor Hicks and the fact that I would not even know of Marc, Toby Lightman, Anthony Hamilton, and more if not for Taylor and his fan community.

I’d like to encourage everyone to check out Marc on his website, http://www.marcbroussard.com/home.cfm or his myspace http://www.myspace.com/marcbroussard. He’s definitely worth getting to know. And don’t forget about the new CD coming out on September 16.

Here’s a little taste of Marc from the other night singing “The Beauty of Who You Are.” Enjoy!

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Fans discovered that Hicks had recorded two CD’s prior to AI, In Your Time, released in 1997 and Under the Radar, released in 2005. Both CDs were recorded independently and were made under very tight budgets. In Your Time was actually recorded live to save money. Neither CD was widely available, but ended up in the hands of fans through various channels. But now, songs from those two CD’s have been remastered and released by Hicks’ own Modern Whomp Records, under the title Early Works.

The compilation includes six songs from each of the previous CDs; all but two songs are Hicks originals. These songs have been in my possession for two years now, but I was anxious to hear these remastered versions. Would they lose that raw, stripped down, hard working musician quality that I found so attractive? The answer is no, they’ve just made them better, bringing out Hicks’ vocals and the great performances of his backup musicians. “Nostalgic” and “endearing” are the words Hicks uses to describe the compilation, but I’d like to add original, warm, creative, versatile, and passionate.

For those who did not follow Hicks beyond his AI performances each week, or may have heard Taylor Hicks, his post-AI release, Early Works may be a pleasant surprise. Though two of his original songs, Soul Thing and The Deal were included on Taylor Hicks, they were highly produced versions of the songs. What you get on Early Works are songs written and recorded by a young Hicks, taking all he had been exposed to from his immersion into the world of music, that started at the age of nine with the theft of a friends’ Otis Redding album. Hicks tries to set the tone of what it’s all about for him with the placement of Soul Thing on track one - “It ain’t no groove thing, it ain’t no country twang, it’s a just a simple refrain, it’s just a soul thing.” But it is all of those things and more on Early Works. You feel his love of music, no matter what the genre on this CD – the bluesy sound of Somehow, the country feel of West Texas Sky, the calypso beat of Hold Onto Your Love, the New Orleans vibe of My Friend, and the groove of Tighten Up. Most of all, what you discover is that not only is Hicks a great singer and performer, but a damn good songwriter.

Though not written by Hicks, one song on the compilation deserves particular attention. The cover of Georgia, with Billy Earl McClelland on guitar, is worth the over seven minute listen. Hicks eases into the song, handling it almost reverently as a nod to his idol, Ray Charles. But as the song goes on, he makes it his own, taking us to every corner of his vocal ability, from soul wrenching growls to smooth falsetto. For anyone needing an introduction to the vocal abilities and the creativity of Taylor Hicks, this is the song to listen to.

The release of Early Works makes this music more widely available, but it also sets the stage for Hicks’ next CD, which is in the works. According to Hicks, we can expect something more raw and more organic than his post-AI release. I see it as a possible continuation of where he was going before the sharp left turn of AI. At least all of us who are fans of that raw, bar singer side of Hicks hope so.

Early Works is now available exclusively at Target.

Recently, I attended my first ever 92.5 Riverfront Festival. The event was held at Waterfront Park in Newburyport, MA overlooking the water; an ideal spot to lie out a blanket on the grass and enjoy this free outdoor event.

Before the music even started, the event’s sponsors set up booths, many of which were giving away free samples. I spent quite a bit of time browsing and was able to snag a bowl of Gifford’s Ice Cream, Dunkin Donuts iced coffee, various Trader Joe’s products, some Cabot cheese, and Polar iced tea. I just couldn’t pass up the chance for free stuff!

I did eventually make it back to where we’d set up our blanket, just in time to catch The Brother Kite, the local opening band who had recently won the River Rising Stars contest. Although I enjoyed their music, I found myself anxious for the next band, Needtobreathe, and probably didn’t listen as closely to The Brother Kite as I should have. After a short intermission, Needtobreathe came on stage and began their set. Although all of their music was enjoyable, my personal favorite was More Time, which was featured in the movie P.S. I Love You. The band seemed very relaxed and laid-back, which made their show even more pleasant.

Next up was Matt Nathanson, one of my favorite artists! I was so excited to see him perform live! He was extremely laid-back and talkative, and informed the crowd that he grew up locally, in Lexington, MA, and that he was a “big fan of New Hampshire”. He played many of the songs from his latest CD Some Mad Hope, including my personal favorites Car Crash and Come On Get Higher. In addition to his wonderful music, Matt Nathanson was also hilarious! He was always making jokes, often right in the middle of a song! After a sing-a-long to a new song, Matt Nathanson left the stage into a tornado of teenage girls already lined up for autographs. He was by far my favorite act of the night, and most others in attendance seemed to feel the same way.

The last band, Blind Melon, was a huge letdown after Matt Nathanson’s amazing performance. I only heard a song or two before the rest of my party decided it would be a better use of time to pack up early and beat the traffic instead of listening to the mediocre band.

In all, I was incredibly pleased with my whole experience at Riverfront Festival ’08 and will be sure to go back next year.

If you’re interested in finding out more about these River artists, you can visit the following sites.

The Brother Kite

http://www.thebrotherkite.com/

http://www.myspace.com/thebrotherkite

Needtobreathe

http://www.needtobreathe.net/

http://www.myspace.com/needtobreathe

Matt Nathanson

http://www.mattnathanson.com/

http://www.mattnathanson.com/

Blind Melon

http://www.blind-melon.com/

http://www.myspace.com/blindmelon

While this review is about The Mystix, I would be remiss not to talk a bit about Tupelo.  Housed in unassuming old white farmhouse, it would be easy to just drive by.  I had heard from friends that it was an intimate setting and a great place to get up close and personal with the music. What they didn’t tell me was that there is an absolute musical gem right in my backyard. Once inside, the atmosphere is warm and inviting. The night I visited, the venue was set up with about 30 tables for four lit with candles. They sell non-alcoholic beverages and food items and you can BYOB, paying $3 for each person who will be drinking. The one big surprise about the venue was the quality of the sound, which was amazingly crisp and clear. It did not overwhelm the small room but still allowed you to really feel the music. Owner Scott Hayward should be complimented on the full package he has put together here. It was recently announced that Hayward would build a new Tupelo in the neighboring town of Derry. After experiencing Tupelo, I hope he works to maintain this amazing quality in a new, larger venue.

Jo Lily, front man for The Mystix, said he visited Tupelo three years ago to see Jonathan Edwards and has been itching to play the room ever since. His itch was finally scratched on a cool New England summer night, when Lily and his band brought some hot, sultry, juke joint sounds to that small New Hampshire room.

The Mystix are an all-star band of sorts, comprised of journeymen musicians from the Boston/New York music scene. With roots in blues, rock, and country, their most recent CD, Blue Morning, has become a fixture on roots and country playlists around the country.

The evening’s entertainment started with a four song instrumental set, which included a playful, driving version of Duke Ellington’s Caravan, by three members of The Mystix – guitarist Bobby Keyes, drummer Marty Richards, and bassist Marty Ballou.  Keyes is clearly the standout here. A longtime studio player at the legendary Fame Studios in Muscle Shoals, Keyes has played with everyone from Jerry Lee Lewis and Ben E. King, to New Kids on the Block and most recently, Lil Wayne and Robin Thicke. Keyes is also an accomplished songwriter, writing four songs for Thicke’s recent CD and co-writing with Lily for The Mystix. But it’s his guitar playing that’s on display here - he is a six string virtuoso. His play is inspired, passionate, and clean. His guitar comes alive under his gentle touch. This description, from a CD Baby review, hits the nail on the head. 

He can switch from “Surf-style-spaghetti-western” to Django Reinhardt-style hot jazz to kiss-ass rock riffs in the blink of an eye and never break a sweat.

The trio was later joined on stage by keyboard player Tom West, and lead singer and guitarist Lily. Lily’s gravely, passionate vocals grabbed hold of the audience with Let’s Get Started and didn’t let go throughout their 14 song set. Some highlights included: the jumpin’ juke joint inspired Keyes/Lily original, Yolanda; the rocking Bourbon Street rhythms of New Orleans; and the Traveling Wilbury’s tune Rattled.

A taste of Yolanda at the Lizard Lounge in Cambridge, Massachusetts, 2007.

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I’ve read that they are a much tighter band since this performance - changing their drummer and adding a keyboard player.

Their country side was on display with their George Jones inspired original What Side of Heartache, which has risen to the top of the playlist on XM Country, and a cover of Porter Wagoner’s Nothing Between. They gave a couple of interesting nods to their interest in roots music. The first, Almost Down to the Shore was written by Jimmy Struthers, a blind axe murderer whose music was recorded at a penitentiary in VA by the Dust-to-Digital project. And the second, the encore, a song that they had never before performed live, Stephen Foster’s Hard Times Come Again No More. Yes, Stephen Foster - the “father of American music,” composer of Oh! Susanna, Camptown Races, and Beautiful Dreamer. Lily mentioned being asked to record this song by Keyes for a movie project, and how he was intimidated because it had been performed so perfectly by Bob Dylan. Having experienced Lily’s performance and watching Dylan’s performance, I’d take Lily’s version, hands down.

The Mystix are currently in studio working on their third CD which, according to Lily, will be more focused on roots music. If you get a chance to see the Mystix, I would highly recommend that you do, and you too will believe that the south has indeed moved to New England.

You can find The Mystix CD’s on CDBaby and iTunes online, and at Newbury Comics and Dyno Records in Newburyport, MA.

Colbie Caillat performs at the Susquehanna Bank Center on 7/10/08, opening for John Mayer. Photo by THawks.

Upon entering the arena, there are still thousands of people milling about buying their $12 drinks and $35 JM t-shirts and now I understand why there are still so many people in the parking lot tailgating! When I finally reach my seat, I hear Colbie singing her radio friendly song “Bubbly” and the crowd is happy. She then sings Jackson 5’s “I Want You Back” and ends with “The Little Things”. I miss most of her set, but Colbie looks great and I enjoy what I do hear. After some convincing, I’m able to get past security and take a nice close-up shot of her.

When Colbie leaves the stage, a large portion of the audience heads out for a short break. A large group of “roadies” rush the stage and carry off her stuff. They start setting up for John and I notice a huge silky gray back-drop in the background. They roll out two large area rugs where John and his fellow guitar players will stand. The instruments are rolled out on platforms and racks of guitars are set in place rather quickly. His band starts warming up and before I know it, I hear the music to “Belief” and the crowd roars. Then, through all the lights, I see him!

John Mayer performs at the Susquehanna Bank Center on 7/10/08. Photo by THawks.

He is wearing a black sleeveless t-shirt, his guns and tattoos in full view. He’s wearing jeans and I notice that his jeans are either too big or he has recently lost some weight and we occasionally see his white boxers. After “Belief”, he tells us he’s going back to his “know it all years when he really didn’t know anything” and then we hear “No Such Thing” and “Why Georgia”. Two beach balls are being tossed around in the crowd seated in the orchestra area and some people have brought “We Love You John!” signs.

He takes us back to 2006 when he had a bunch of songs put together for Continuum and he tells us a story about how “he needed one song to be in charge” and then he sings “Waiting on the World to Change” to a screaming audience. At this point, I realize most of the crowd is standing and I don’t think I could sit again if I tried. We hear “Vultures” and “Bigger Than My Body” (hey, maybe he means his jeans!).

He tells us that some songs are meant for when “you know a relationship just isn’t working out” and he mentions the song “Stupid Mouth” but then starts to play “Slow Dancing in a Burning Room”.

He does an amazing cover of “Crossroads”. I noticed when he plays guitar live he gets “in the zone” and the songs are extended by five minutes or so and no one seems to mind. I try to get closer to get a better picture of him but his security detail isn’t letting anyone get any closer to the stage. I do my best with the camera I have with me.

He addresses the crowd about every three songs or so and they react with extreme admiration. He sincerely thanks us, his fans (who have filled this 25,000 capacity arena) for “still being able to do this gig.” The stage lighting changes quite a bit but I notice that the only thing he really changes throughout the show is his guitar. This man was born to play the guitar and he just happens to sing really well too. His band is just as impressive, especially his guitar players, Robbie McIntosh and David Ryan Harris. He highlights them both quite a few times during the show.

The crowd reacts to John Mayer. Photo by THawks.

He sings “Free-fallin” by Tom Petty and I really enjoy his version. Then he tells us he’s going to get “bluesy” and he sings the Herbie Hancock song “Stitched Up”. He closes with “Gravity” and most of the massive crowd is on their feet singing along with him.

He comes back for an encore to a thunderous crowd and sings “Bold as Love” and then segues into “The Wind Cries Mary”. It is CRAZY GOOD. He has mad talent and I don’t want this one to end. He does end it though, with “Wheel” and “Say”. He gives us cards reminding us he will be coming back to The Borgata in Atlantic City to perform on August 24th with special guest One Republic. I’m checking my schedule already, John.

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Let’s start with a quick structural overview. There are two major patterns to observe: first, the pattern of verse, chorus and other parts; second, the rhyme scheme within each of those parts. The verse-chorus structure is pretty typical for a pop song, with an introductory chorus, alternation between two verses and the chorus, and a short bridge before the final chorus and the fadeout. We can abbreviate this as C-V1-C-V2-C-B-C-fade.

I will get into the chorus in more detail later, but at the moment let’s examine the fascinating rhyme structure of the verse lyrics and the way that interplays with the vocal melody. This song is unique in that each verse consists of six lines arranged as three couplets. This means (in case you don’t remember poetry from English class) that the first two lines rhyme (AA), the second two lines rhyme on a different sound (BB), and the last two lines also rhyme on yet another sound (CC). Rhyme structure is important in pop songs, as it reinforces the ability of the listeners to learn and remember the lyrics. The melody follows this as well: the first two lines have identical melody, as do the second two. The last two lines in the verse repeat the melody of the first two, then launch into the small “joining” piece, “Oh, Darlin’”, which lets us know we’re moving back into the chorus again. This structure somewhat mimics the traditional (gospel/blues/slave) “call and response” structure, except of course it is the solo vocalist singing both parts.

Now for the chorus. It is, at its core, quite simple and “sing-along-able”–the complexity lies in the two contrapuntal lines being sung by the soloist and by the backup singers. As previously mentioned, the introduction to the song is an instance of the chorus, but in this case only the backup singers are heard. This gives us the chance to hear clearly and learn this portion of the melody. The tonal quality (timbre) of the voices mimics the horns in the instrumental lines–while the Beach Boys are primarily a vocal band, their various songwriters were always conscious of the “voices” of the instruments used and there would be plenty of experimenting to get just the right sound. (This gets more interesting when you listen to various live versions of songs, when it wasn’t possible to precisely control both instrumentation and recording practice.) The background part of the chorus is simple lyrically and melodically, but the word “Darlin’” repeats twice, thereby making sure we’ll remember the name of the song.

The solo part of the chorus is higher in the balance of the recording, of course, as we are meant to listen to this part. While the background is punchy (staccato) and hornlike, the solo is smoother (legato) and accurately conveys the depth of love he has for the subject “Darlin’”. The fact that there are two independent yet complementary lines going on at the same time is what makes this counterpoint. By focusing your mind on one or the other, you can hear each clearly, but relaxing your mind you will hear the ebb and flow of the two parts–an entirely different sonic experience.

The bridge, generally, serves to add some variation and keeps the audience’s attention by giving them something different instead of another verse, before the final chorus (and in this case, fadeout). As such, the chords and instrumentation change, as do the lyrics (consisting of a single line and a couplet) and melody (the couplet lines do not have the same melody, as the verse couplets do). Yet it still ends with the “Oh, Darlin’” that launches into the chorus. There is also, at the beginning of the bridge, an upward movement of chords that is not present in the verse, which serves as warning that we are doing something different this time. The lyrics tie in to the previous verse’s final couplet (”Gonna love you every single night / Cause I think you’re too out of sight”) by singing a variation on that line:

Oh, every night, oh Darlin’

Gonna love you every single night, yes I will
Cause I think you’re too doggone out of sight

Lyrically, then, we can tell this is a love song: a man has been rescued from a life without love by Darlin’. Musically, it is also a song of celebration.

It is uptempo, in 4/4 time with a strong emphasis (as is usual in rock songs) on the 2 and 4 beats, a/k/a the backbeat. The staccato horns, tambourine, and rolling piano line keep the song moving forward and upward: no sappy embrace, this song, but a jubilant dance, the kind of hug that picks you up and spins you around.

I leave you with two more versions of Darlin’ (and the recognition that, yes, this might be overkill). The first is a live version from a 70s incarnation of the Beach Boys, and the second is a live version from Brian Wilson and his current band, several years ago.