Carole King, "So Far Away" meanemotion=graceful, meanspeed=72.0 bpm

The speed graphs above represent Carole King, "So Far Away ."
Although the lyrics speak about be lonely for an old friend, the emotional expression of the speed indicates a graceful and poised person at peace and in a proverbial Good space. After all, Carole sings enthusiastically, "There's so many things I've yet to find!"
A friend of the singer, once a close friend in emotion and in geographical space, is now removed by geographical space and the demands of musical fame and the “road tour”.  King expressions an unconditional love which says: “[I unconditionally would welcome seeing you, any time, any place, and my life would be more emotionally fulfilled than it is in missing you now].” The song was written for, and included as a single released from, King’s classic ‘Tapestry.’ The song has been covered many times, with James Taylor’s version being a well-known example. The song is played in the key of D major, loaded with sweet sounding major 7th and 6th chords, with the leads back to the tonic of D being smooth and lush.
King’s ‘Tapestry’ is on almost everyone’s list of 50 best of the singer-songwriter era of the 1970s. The song emits a glowing unreserved, unconditional love, despite ‘troubled times’ of missing a friend and missing societal closeness, the It takes A Village type.
As a typical singer-songwriter performance of the early 1970s, this song was recorded live, that is, there was no metronome or electronic device guiding a tempo based on steady percussion. So said, though the song has some wide tempo variations which occur often in this recording, peaking at 75.5 bpm and some measure as slow as 68.5 beats per minute--yet, ‘So Far Away’ maintains its 72 bpm linear trend speed in an even way from start to end. Linear and logarithmic graphs all available on request for any song by contacting me. Overall: merciful, charitable, compassionate, tolerant graceful speed of 72 bpm.


The MeanFrequencies of So Far Away are:
meanspeed=72.0 beats per minute
meanemotion=graceful
meanspace=0.833 seconds per beat
meanphase=1.20 cycles per second
meanpitch=307.20 Hertz, 77.5 cents above D4=293.665 Hertz, 22.5 cents below D#4/Eb4=311.127 Hertz.

Ian Schneider
28 September 2006
NYC

	So Far Away By: Carole King Album: Natural Woman: The Very Best of Carole King
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"Anything For You," written and performed by Gloria Estefan, meanemotion=grace, meanspeed=72.0

These are speed graphs of the song Anything For You, written and performed by Gloria Estefan.
The song sits in the middle of the meanemotion of grace—and in this song, in my opinion, you will hear a woman at peace with herself, in a deeply committed relationship, with a kindness that comes only out of deep self-confidence.

meanspeed=72.0 beats per minute
meanemotion=graceful
meanspace=0.833 seconds per beat
meanphase=1.20 cycles per second
meanpitch=307.20 Hertz, 77.5 cents above D4=293.665 Hertz and 22.5 cents below D#4/Eb4=311.127 Hertz.

Ian Schneider
26 September 2006
NYC

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How can Steve Winwood say: "I am not lonely anymore, I *mean it*!"? BACK IN THE HIGH LIFE, meanemotion=LONELY, meanspeed=84.3

Sometimes, when we feel lonely, we try to feel less lonely.
If you are a musician, a way of doing this is writing a song that professes that you are ready to rejoin the world.

In this 1988 song by written by, and all instruments played and recorded by: Steve Winwood, where Steve is telling "all the eyes that watched [him] once, will open up again." Problem: the speed tells me that while Steve was ready to be "back in the high life again," the song's expression, as noted by its speed, is one of feeling loneliness *ready to* lift, not loneliness already lifted. After all, the song does not say, "I AM back in the high life again," the song says, "I, in the future, will be back in the high life again."

This song BACK IN THE HIGH LIFE AGAIN, is much as the song I Want To Know What Love Is by Foreigner: the familiar case of a man going from youth to middle age, admitting in the song that a period in the artists was unduly lonely, but NOW the artist is ready for the love of others again.

The MeanFrequencies™ of BACK IN THE HIGH LIFE AGAIN are:
meanspeed=84.3 beats per minute.
meanemotion=Lonely, with a hope that the loneliness is lifting
meanbeat=1.405 beats per second.
meanspace=712 milliseconds per beat.
meanspace=2847 milliseconds per measure.
meanphase=1.405 cycles per second.
meanpitch=358.680 Hertz, 50 cents above F4=349.228 Hertz, 50 cents below F#4/Gb4=369.994 Hertz.

Ian Schneider
23 September 2006
NYC

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"CRY BABY" by Janis Joplin, special guest essay by John Halverson for concertlivewire.com, meanemotion=Melodramatic, meanspeed=56.3

Her voice still rips the wallpaper
off the wall

Aug. 26, 2004

Janis Joplin

Story by John Halverson

Sometimes you need distance to know what you've missed.
I recently bought a Janis Joplin CD. I hadn't listened to her seriously in years. I know Aretha and a whole lineage of singers have touched a deep cord in their own ways, but I'm here to declare Janis Joplin the greatest soul singer ever. Some will say she's rock, but rock is fun and Janis was deadly serious. Some say she sang the blues, but the blues are a celebration of resignation. Soul is resurrection, and Janis always sang like she was coming back from the dead...and the devil better get out of her way. When she sang "take another piece of my heart" she meant it but the song also says "each time I tell myself that I, well I think I've had enough...But I'm gonna show you, baby, that a woman can be tough."
"Seeing her live," said one observer, "was like watching a boxing match. There you were living your nice little life in the suburbs and suddenly there was this train wreck...that train wreck was Janis." "I'm no good if I hold back," Janis said. Janis never held back. We don't know if there's a soul. It's never been photographed. Of course, neither has God. But there's a deep place in all of us-whatever you want to call it. Most of us cover it, control it. Probably just as well. Those who see it without blinders often follow dead artists to their graves.
Live fast; die young.
Vince Lombardi said we shouldn't honor the losers. We should honor the winners instead. He was right, but he also missed the point. The same emotions that drove his running back Jim Taylor to actually seek out tacklers came from the same place Janis drew from. It was also the same place that has fueled heroes forever, that leads to great and impossible rescues, that allows small women to lift large cars to save their children. It's why we cry when we see Humphrey Bogart walk away from Ingrid Bergman at the end of "Casablanca"-sacrificing the love of his life for a greater cause, the soul cause.
Artists are blessed and cursed with having gone to places we haven't and then find the language to tell us about the journey. Sometimes it's pretty. Sometimes it's not. Those who go there aren't necessarily the most upstanding citizens. I wouldn't want my kids to hang around with Janis Joplin or her emotional brother James Dean. You want to protect your kids.
Janis' career lasted three years; James Dean made three movies. Then they died. An open heart. An open wound. It depends which way you turn on a foggy highway.
Janis was a pimply outcast in high school. Each song sounded like an act of revenge. Thirty years later, her voice still rips the wallpaper off the wall.
Not everything Joplin and Dean did was great, or even all that soulful. But in bits and pieces they've plumbed depths few of us have ever seen. And it's wrong to label them as misfits and bums. They were certainly misfits, but both had a gift and both worked hard at their craft. Janis walked away from her first band because they didn't want to work as hard as she did. James Dean immersed himself in his roles. It's also easy to be turned off by the intensity and volume of Janis's singing, especially her early work with Big Brother and the Holding Company. If it's just not your type of music, you may not be able to get past that. But if you listen closely, it grows on you as all originality does. Her Texas accents and inflections make her voice as unique as Lena Horne's and superior to all the sound-alike artists we're stuck with most of the time. Her screams draw attention away from the way she could modulate words for different effects and be playful and tortured by turns.
Still, it was her screams, where her soul really came out as something almost otherworldly compared to the fake emotions of a Tom Jones or Michael McDonald. Unlike the made for TV emotions other singers show, Janis lived her truth in her music. Dean, too, was anything but a lazy bum. He could be a ham, but as legendary movie critic Pauline Kael once said about another actor. "I don't know what it was, but it wasn't acting." Watch Janis and Dean and you'll know what she meant.
In "East of Eden" Dean so felt the angst of his character that long after the scene ended stagehands had to pry his crying, withering body off the actor who was portraying his father in the movie.
A Janis concert was a catharsis.
No wonder they die young.
So why do we want to listen to such music, watch such movies? Many people don't. It's the type of raw emotion our parents kept behind closed doors. But there must be something intoxicating down there. Some blinding beauty people die for.
Both Janis and James Dean died accidentally-Janis with a heroin overdose, Dean in a speeding car. In away, both died at their own hand but I wouldn't call either a suicide. Whether it was the thrill of driving 130 mph or the rush that apparently comes with heroin, they were both seeking to get back to someplace they had been before. Janis said: "The more you live the less you die."
We can argue with that and say there are other ways to touch the soul, but we each have to find our own. The road they took isn't for all of us, but let's not judge too harshly their destination.
They were seekers, and they died seeking.

The MeanFrequencies™ of CRY BABY are:
meanspeed=56.3 beats per minute.
meanemotion=melodramatic, in a self-righteously outrageously candid manner.
meanbeat=0.938 beats per second.
meanspace=1065 milliseconds per beat.
meanspace=4263 milliseconds per measure.
meanphase=0.938 cycles per second.
meanpitch=480.427 Hertz, 62 cents above A#4/Bb4=466.164 Hertz, 38 cents below B4=493.883 Hertz.

Ian Schneider
22 September 2006
NYC

What a tale his thoughts could tell: "IF YOU COULD READ MY MIND LOVE" by Gordon Lightfoot, meanspeed=61.0, meanemotion=sincere

The MeanFrequencies for "If You Could Read My Mind Love" by Gordon Lightfoot are:

meanspeed=61.0 beats per minute.
meanemotion=sincerity.
meanbeat=1.017 per second.
meanspace=9836 milliseseconds per beat.
meanspace=3934 milliseconds per measure.
meanphase=1.017 cycles per second.
meanpitch=260.267 Hertz, 95.5 cents above B3=246.942 Hertz, .5 cents below C4=261.626 Hertz.

Similar speeds are found at the speed lists at MEANSPEED.com.

Ian Schneider
21 September 2006
NYC

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Al Bundy Tends Bar, Topless: "TUFF ENUFF"-- The Fabulous Thunderbirds, meanemotion=foreboding, meanspeed=116.7

TUFF ENUFF by the Fabulous Thunderbirds is a true blue‘American’ song. One television program called Married With Children is, well, a very 1990s American “trash,” biting wit and subtle sarcasm— a love-it-or-hate-it show--I loved it. Better than Seinfeld? I think so:the social commentary on Married With Children might have been crude and crass, but same could be said about All In The Family. Seinfeld was a great show--but be honest: which show reflected America, Married with Children and the Al Bundy Theme of Tuff Enuff, or an unemployed Kramer with a huge New York apartment and the oh-so-hip bass lines between each scene? Both shows were hysterical, and had Seinfeld been on HBO instead of NBC, it might have been able to be more candid. Married With Children was Under the radar with FOX, and as a result were able to be more candid about how we live as Americans. Al Bundy never let two shows pass where he did not remind his family that he, in his glory in high school football, had scored a record 4 touchdowns in one game for James Polk High, as Hank Hill of King Of The Hill, also on FOX and brilliant and on the edge for its time, never let a show pass without mentioning his famed single-season rushing record--much like my dad never let a supper pass without reminding us of his MVP year and undefeated season as a division III football player. (true!!!)

In one episode, in order to earn more money for increased household expenses with a new nephew joining the house (usually a Jump The Shark move), Al Bundy (Ed O’Neill), who played a shoe-salesman applies and lands a job where he assumes he is going to tend bar for “working stiff’s”--and rather lands in a topless male-tended bar, complete with all women patrons, as Al was required to make drinks sans shirt. Al & his well worn 40-something year old body screamed into what I thought was one of the funniest scenes in television: instead of refusing to play the part of topless male bartender, Al plays the song by the Fabulous Thunderbirds, takes what he has of a body and tries to be sexy, eventually becoming so crazed with the enthusiastic response of the crowd that he begins to twirl entire bottles of liquor in the air and dance with fun and abandon, reflecting how camp and funny everything was in the scene--O'Neill was so good that he was both playing the part and laughig at himself.

What helped the camp-not-kitsch, absolutely, was the fact that this devastatingly great song, Tuff Enuff, is at the tough speed of foreboding, and the juxtaposition with the absurd idea of Al as a sex symbol bartending topless is up there with any Ted Baxter scene.

The MeanFrequencies™ of Tuff Enuff by the Fabulous Thunderbirds are:
meanemotion=foreboding--in a haunting, tough, halloween style.
meanspeed=116.7 beats per minute.
meanspace=0.514 seconds per beat.
meanspace=2.057 seconds per measure.
meanbeat=1.945 beats per second.
meanpulse=1.945 cycles per second.
meanpitch=497.92 Hertz, 15 cents above B4=493.883 Hertz and 85 cents below C5=523.251 Hertz.

Ian Scheider
NYC
20 September 2006


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Music Irony - Natlaie Merchant - "Wonder" - i-vi-iv-V-I progression + 115 bpm= Unintentional Dimension in Art

The musical irony contained in this song, Wonder, written and performed by former 10,000 Maniacs member Natalie Merchant is that although Natalie is singing about mysterious things, she does so in a joyful way with a diatonic, simple, sweet harmony and melody line. When this song is played at the speed of victory, then, it could well have the unexpected effect of "pushing the song over the top"--meaning that it is just too sickly-sweet, Pollyanna or silly. Here is a song with childlike lyrics, delivered i a gorgeous childlike, energetic manner, where the song keeps it's cool by playing at a haunted danger speed. This is a excellent way to think about writing songs. Most importantly, once you are aware of the speed, the emotion it expresses by speed and how that sits in contrast to the Sesame Street™-like harmonic progression and the sweet "let me take care of you my baby" lyrics will empower you should you open up your mind to the idea.

The MeanFrequencies™ of Wonder by Natalie Merchant are:
meanemotion=foreboding--the ironic, mysterious style
meanspeed=114.7 beats per minute.
meanspace=0.523 seconds per beat.
meanspace=2.092 seconds per measure.
meanbeat=1.91 beats per second.
meanpulse=1.91 cycles per second.
meanpitch=489.387 Hertz, 84 cents above A#4/Bb4=466.164 Hertz and 98 cents below B4=493.883 Hertz .

Ian Schneider
19 September 2006

Beauty Plus Unrequited Infatuation= Lonely: MELISSA, The Allman Brothers Band, meanemotion=Lonely, meanspeed=83.1 bpm

The MeanFrequencies™ of Melissa by the Allman Brothers band are:
meanspeed=83,1 beats per minute.
meanemotion=lonely.
meanbeat=1.385 beats per second.
meanspace=722 milliseconds per beat.
meanspace=2888 milliseconds per measure.
meanphase=1.385 cycles per second.
meanpitch=354.560 Hertz, 27 cents above F4=349.228 Hertz, 63 cents below F#4/Gb4=369.994 Hertz.

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14 September 2006
NYC

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The Soprano rejoins the Boss: "My City Of Ruins," live in Barcelona, Spain, by Bruce and The E Street Band, featuring "Miami" Steve (Sil) Van Zandt

The two speed graphs of My City of ruins were made by averaging 10 trials of 456 beats, broken down in contiguous groups of four beats, entered, synthesised and created in Microsoft Excel.

most interesting about this performance: the song begins with Bruce carrying the first 148 beats alone on the piano with his voice--Bruce is a deceptively good piano player! After beat 148, the whole band joins in. The drop, in extreme, during the last 3 measures is Roy "the Professor" Bittan playing an outro and end, with Bruce using his right arm at that point to conduct the end. Let us just say: if you are a fan of the Boss, this DVD is mandatory--truly fine reuniting the the E Street band--and I know from Mission Springsteen: E Street will give you the chills--especially going to E Steet--checking out the Baptist Cavalry Church, pumping this song [on the device of choice]: better than a trip to the Rock N Roll Hall of Fame? Well, there is no "better," but any Bruce fan living within an hour of E Street who has never taken the tour: most highly recommended!


The frequencies for My City Of Ruins as performed by Bruce Springsteen and the E Street band, as performed on their live recording on the fantastically fantastic double DVD call: LIVE IN BARCELONA are:
meanspeed=72.1 beats per minute
meanemotion=graceful
meanbeat=1.202 beats per second
meanspace=832 milliseconds per beat.
meanspace= 3329 milliseconds per measure.
meanphase=1.197 cycles per second.
meanpitch=307.627 Hertz, 80 cents above D4=293.665 Hertz and 20 cents below D#4/Eb4=311.127 Hertz.

Ian Schneider
13 September 2006
NYC

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