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Originally Posted by SuchFriendsAreDangerous
FINALLY. Some theory. So it turns out you are right about Beatles doing some innovative things with chord progressions and timings. If you are interested here is some theory
http://www.icce.rug.nl/~soundscapes/...d_chords.shtml
NOW for the meaty part of the discussion. What specific examples can we find of OTHER BANDS OR ARTISTS utilizing these different chord changes or timings and yes, to be empirical about it we must be both specific and accurate. It can't be what we "feel" or "think" ot is either the same chords and timings or its not and THAT is how we can MEASURE musical influence empirically |
Well, you can't measure it empirically. Too many third variables. One being that the guys who wrote (song Y) simply never heard (song X) but stumbled upon the same sound. But yeah I take your meaning and I'm just nitpicking.
One Beatles song that I can hear all over the place is "Hey Bulldog"... I used to feel like Spoon based all of their faster paced songs on than track's dynamics. And then Spoon covered "Hey Bulldog" and I felt really, really pleased with myself.
I can hear Lennon's very specific style of mangled riffing on Raw Power. Like Revolver on steroids. And I think Paul managed to fit minor changes into pop structures in a way that definitely influenced Nirvana. Compositionally "Tomorrow Never Knows" is kind of like the "Sister Ray" mainstream pop (or Siter Ray's the TMN of proto-art-punk). Both songs just drive forward and never let up, cacophonous and droning and beautiful.
And as I've said, I can hear Rubber Soul and Revolver very clearly in Late Registration's orchestral arrangements and chamber-pop vibes. I think that was deliberate. I've heard many a music journalist make similar comparisons.
And blah, and blah-blah... deedoodumday.