Word: rocks
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Dates: during 2000-2009
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...voice alone, not double- or triple-tracked) for a few syllables, Ford reprises the first chorus, giving each word double value, again asserting the lyric's wistfulness before revving for the finale. Her voice ascends - "How! High! The! Moon!" - and Les' guitar descends, ending as he began, with the rock riff and adding a puckish triple grace note. He and Ford get in and out of this 21-track mini-masterpiece in a breathless two minutes and four seconds...
...popular art of all those Les and Mary singles - the density and clarity, the distinctiveness of his guitar voice and her intimate vocal instrument, the heart and the fun. It's a number that expresses the choral lilt of early-'50s pop and the electric drive of mid-'50s rock, as if "Mr. Sandman" had married "Peggy...
...used to start our gigs with the opening riffs from 'How High the Moon,' " said another Paul, the one with the Beatles. "Everybody was trying to be a Les Paul clone in those days.") Do you remember that descending pattern (C, C7, F, F-minor, G) that concluded primal rock-'n'-roll numbers like Billy Haley's "Rock Around the Clock"? Here, Paul begins with that lick; he also anticipates and reverses the fade-out ending of so many early rock-'n'-roll songs by beginning with a very quick fade-in. Four seconds into the record, Paul is already...
...pictures of the Rock and Roll Hall of Fame's 2009 Nominees...
...relax into some fleet picking in Paul's trademark bubbly style as if he's somehow playing underwater and the notes have quickly risen to the surface to pop in the clear air. That's the first chorus. The second features a lot of the power chords that later rock guitarists would borrow. It climaxes in an ascending "aaaah" from the Ford voices that transports us into the third instrumental chorus, where a few more Lawrence Welky bubbles return the number to vocal land...