Word: chording
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...rely consistently on the lower registers of his guitar. "Don't Want to be Alone" another original, opened with some lower register, bass string single picking, until he found a riff that pleased him. Beck also tends to work off one riff until he tires. A large, glissando chord took the band into Dylan's "Tonight I'll be Staying Here With You." Carmine Appice's vocal was strained a bit, but the guitar work brought the song off. Beck has learned to achieve a double-tracked guitar sound by working in the middle registers of his fretboard and adding...
...chord held with vibrate closed "Tonight" and opened "People Get Ready." An old Vanilla Fudge standby, Beck, Bogart and Appice blended their voices beautifully one time for an exquisite gospel version of the song (at least for rock shows). Beck varied volume and intensity to alter mood. I heard the best single lick of the evening during "People." Beck moved into a transitional chord, picked two bars acoustically at very low volume, boosted the volume, and came out in a single note run. In the space of one chord, maybe seven seconds...
...guitar brought the song off. Beck's solo explored the variations on one lick, after exploring several angles of single notes to discover that lick. The vocals on "Plynth (Water Down the Drain)" were ordinary--the vocal harmonies much tastier than the vocal leads. Beck dropped a cello styled chord into the middle of a solo, and took the band into "Shotgun," his only in concert thank you to Motown. It was cursory, out of place and served primarily as an introduction to Tim Bogart's feedback-laden, extremely histrionic and essentially unnecessary bass solo...
...with only five days remaining until the gridiron meeting that would surely rattle the foundation of the New York Times Sports Cube, the man who only six months before had described his heel chord as "a soft jelly mass" was ready to go. His heel was ready. His arm was ready. His mind was ready...
...there is much derivative in Eagles's album. Most everywhere are hazy reminders of the Springfield, a chord, or a snatch of guitar. The whole band has come under the influence of Steve Stills. The three songs most reminiscent of his work were composed by each of the four band members, "Witchy Woman" is typically early period. Stills, the song about the mysterious lady; it's right out of "Suite: Judy Blue Eyes." The guitar solo, though, has strong Springfield influences, particularly in tone and direction of attack. "Take the Devil" is similar. A trapped wanderer song, this shares with...