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D-composing: Top 5 songs where Canon in D rears its head

Wednesday, September 30th, 2009

When 17th Century Baroque composer Johann Pachelbel died, he cursed the descendants of his jailers with his last words: “Death is but a door. Time is but a window. I’ll be back.”

No, wait, those were the last words of Vigo the Carpathian in Ghostbusters 2. I don’t know what Pachelbel’s last words were. Probably something like “Nuremberg Wild Cats rule!” or “Organists do it with their hands and feet!” Maybe it was, “If it ain’t Baroque, don’t fix it!”

Canon in D’s influence in popular music is sometimes felt directly; sometimes it’s hinted at during a chord progression. Recently, I was paling around with my good friends Carla and Andrew. I was playing “Hook” on guitar when, with the aid of a change in time signature, tempo, and good ol’ fashioned Fleischman’s Whiskey, I wound up playing “Cryin’.” Carla and I wondered just who thought of this chord progression first, when Andrew mentioned both progressions seemed based on Taco Bell.

“Taco Bell?” I asked, suddenly craving nachos (remember, whiskey was involved).

“No, Pachelbel. Now start blogging, Dexter.”

Top 5 songs where Canon in D rears its head (but first, a special message on Taco Bell Pachelbel from theFiver):

1. “Hook,” Blues Traveler
2. “Cryin’,” Aerosmith
3. “Piano Man,” Billy Joel
4. “Basket Case,” Green Day
5. “Fullness of Wind (Variation on Canon in D),” Brian Eno

Canon in D Variations

Runners Up: “All Together Now,” The Farm; ” “I’ll C U When U Get There,” Coolio.


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Posted in Top 5 | 5 Responses »
Tags: Aerosmith, Billy Joel, Blues Traveler, Brian Eno, Coolio, Green Day, Johann Pachelbel, The Farm

PerformanceKlok: This mosh pit brought to you by Walgreens

Saturday, September 5th, 2009

Green Day live in Central Park performing “Know Your Enemy,” as part of GMA’s(?!?) concert series. Actually a pretty kick-ass live band. Who knew?

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Tags: Green Day

Just Green Day!

Thursday, July 30th, 2009

It seems like every time Green Day puts forth a serious artistic statement, something comes along, pats them on the head, gives them a lollipop and sends them out to recess. And they go willingly. In other words, the band preaches revolution, but the message is subverted by the very commercial means they use to reach an audience

Take their major label debut “Dookie.” The sound and songs off that album seemed subversive, at least before being embraced by the nation’s 6th graders.

In years to come, “American Idiot,” “Know Your Enemy” and their excellent cover of “Working Class Hero” were battle cries against The Man. Then you start to hear “Good Riddance (Time Of Your Life)” on later-day episodes of ER, not to mention sung by the glee club at your cousin’s high school graduation.

Their performance on the second episode of the Tonight Show with Conan O’Brien unquestionably rocked. But shouldn’t Billie Joe Armstrong have been sneering at the audience, instead of getting them to clap along?

I mean, they sound punk, but were they ever, in fact, punk?

If they were before, they aren’t now. Vulture is reporting that Green Day has assembled its creative team for American Idiot: The Musical, which will run for five weeks this fall at the Berkeley Repertory Theatre.

mainimage-ai2

Image from Berkeley Rep

In a statement on Berkeley’s website, Armstrong said of the theater “They’re an amazing theatre group, very adventurous, and their willingness to take chances is in keeping with the spirit of the album. The end result will be terrific, and we’re really proud.”

Johnny Rotten wept.

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Tags: Green Day

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