RoscoeElegante
Friend of Leo's
Intro, solo, outro, accompanying throughout-the-song part--whatever you like. Always interesting to me to see what people who exclusively or primarily play one instrument like in/about another instrument's usages.
Not sure if there's any meaning or pattern here, but mine (all referring to the original/album versions), FWIW, are
1) Layla. That sudden shift to and looooong outro of the piano-centric part gives me the goosebumps every time. So much poignant peace, or at least resignation's melancholy near-graces, there.
2) Wild Horses. Kinda a Duke Ellington approach. Minimal plinks here and there, a little fill at a line's end like a memory-lingering gesture, full chords at key/punchier moments, resonating all the more because of it. ("Angie" takes the same thing a biiiiit too far, and is washed out anyway by those over-lush strings, when I'm not in the mood for 'em.)
3) Waiting on a Friend. Them British boys know a thing or two about how sweetly lace-like the pye-anna can be, (even) when the drums and guitars are snapping and chiming.
4) Let It Be. Whoo-whee, those rich chords are like church windows.
5) Baby, It's You (Shirelle's original) Love when a piano is used as the primary bass notes. The echoey tack-hammer tones here are great. Fit the song's reverbed melodrama really well. (And offset that mid-song roller-rink-organ-with-a-sinus-problem solo.)
Just listing, from here onward:
6) Something in the Night, Racing in the Street
7) Ever Since I Put Your Picture in a Frame
8) High-Flyin' Bird
9) Lyin' Eyes (sorry, Dude!)
10) Not Feelin' It Anymore
11) Against the Wind
12) Like a Rolling Stone, Sign on the Window, Just Like Tom Thumb's Blues, We Better Talk this Over, You're a Big Girl Now, Dignity, Queen Jane Approximately, Jokerman, I'll Keep It with Mine
13) Good Things (Kathleen Edwards)
14) Bridge Over Troubled Water
You?
Not sure if there's any meaning or pattern here, but mine (all referring to the original/album versions), FWIW, are
1) Layla. That sudden shift to and looooong outro of the piano-centric part gives me the goosebumps every time. So much poignant peace, or at least resignation's melancholy near-graces, there.
2) Wild Horses. Kinda a Duke Ellington approach. Minimal plinks here and there, a little fill at a line's end like a memory-lingering gesture, full chords at key/punchier moments, resonating all the more because of it. ("Angie" takes the same thing a biiiiit too far, and is washed out anyway by those over-lush strings, when I'm not in the mood for 'em.)
3) Waiting on a Friend. Them British boys know a thing or two about how sweetly lace-like the pye-anna can be, (even) when the drums and guitars are snapping and chiming.
4) Let It Be. Whoo-whee, those rich chords are like church windows.
5) Baby, It's You (Shirelle's original) Love when a piano is used as the primary bass notes. The echoey tack-hammer tones here are great. Fit the song's reverbed melodrama really well. (And offset that mid-song roller-rink-organ-with-a-sinus-problem solo.)
Just listing, from here onward:
6) Something in the Night, Racing in the Street
7) Ever Since I Put Your Picture in a Frame
8) High-Flyin' Bird
9) Lyin' Eyes (sorry, Dude!)
10) Not Feelin' It Anymore
11) Against the Wind
12) Like a Rolling Stone, Sign on the Window, Just Like Tom Thumb's Blues, We Better Talk this Over, You're a Big Girl Now, Dignity, Queen Jane Approximately, Jokerman, I'll Keep It with Mine
13) Good Things (Kathleen Edwards)
14) Bridge Over Troubled Water
You?
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