I’ve just been listening to an iPlayer rerun of last Saturday’s Sounds of the Sixties where they gave a run out to Joe South’s Games People Play which I featured on Friday on my Mind a couple of weeks ago. Brian Matthew’s intro to it said Joe sang all the vocal parts and played all the instruments himself – as well as writing it.
I think this lyric is fantastic, precisely because of the rhymes and scansion.
The rhyme scheme for the first verse is AABB*CC*DEFF* (where the * is for a part rhyme – which is more than common in popular music.) Moreover the D and E lines have an internal rhyme of lunch with bunch. Indeed, if you consider the line break is at “lunch” – which verses 2 and 3 suggest is more correct – the rhyme scheme becomes a near perfect AABB*CCDDEE.
The second and third verses both have an absolute AABBCCDDEE rhyming.
As to the scanning; it’s brilliant. In fact the line, “Undoubtedly I must have read the evening paper then,” is a wonderful iambic heptameter.
“There’s not, I think, a single episode of Dallas that I didn’t see,” is superb; the best line in any Abba song bar none. If you allow the “see-ee” at the end as an iamb it’s also a near perfect iambic nonameter.
The only thing I dislike about the lyric is it’s written in USian. Gotten is now archaic in British English – except for the phrase “ill-gotten gains” – and we don’t say “to go” but “to take away.” But then “to go” provides the rhyme.
Plus there’s an element of SF to it all, with the looking back to something that has changed, the implication of a life transformed.
I’ve always had a soft spot for the Blancmange version.
I don’t believe I’d ever heard this song by Aphrodite’s Child until it was on Radio 2’s Sounds Of The Sixties recently. It’s clearly influenced by the mid 1960s British group Nirvana whom I featured some time ago – see my category. (Or perhaps it’s a Greek thing. Nirvana’s composer was Greek as were at least two members of Aphrodite’s Child.) There’s also a touch of Procol Harum’s A Whiter Shade Of Pale in the bass line and the organ.
It’s Five O’Clock:
The Aphrodite’s Child song I most remember, though, is Rain And Tears. There’s a murky sound quality film/video of them playing it on You Tube but I also came across this crisper version. A touch of Pachelbel’s Canon in the intro methinks. It gets everywhere.
As I recall (and Wikipedia confirms) Aphrodite’s Child spawned Demis Roussos and Vangelis but I’ll not hold that against them.
I happened to be listening to Radio 2 when Jonathan Ross’s Saturday programme on that station came on yesterday. (I know, but Sounds Of The Sixties had just finished.)
Before Ross spoke there was broadcast the official announcement of the adjudication on the Ross/Brand Sachsgate affair – which said the BBC had been fined £150,000 over the to-do and gave an email address to see the whole judgement.
Ross’s first words were to the effect, “Why do you never have a pen when you need it? Did anyone get that email address? I can’t read enough of that.”
He then proceeded to play The Lunatics Have Taken Over The Asylum by The Fun Boy Three.
Has Ross learned nothing? The clear implication is that the ruling was given by lunatics. It hardly shows contrition, nor any amendment of ways.
This is like Barry Ferguson and Allan McGregor making their rude gestures. It compounds the original offence.
There are two defences. One is that Ross did not intend to imply any such thing and that the song he played was a mere coincidence. Except he commented to that effect after it had finished; thereby only increasing the suspicion he knew exactly what he was doing. The other defence is that he himself was the target of the lunatics reference and then, the implication is that the BBC is mad to allow him to remain on air. (Which it obviously is, in either case.)