12-07-2005, 12:59 PM
One of the reasons that TTH is one of my favorite bands of all-time is the litte "neat" things they do in songs throughout thir catalogue. You know, the creative, nifty things like the development of cool dual-guitar effects, the writing of superb bridges, etc.
One of these niceties appears in Let's Stay Engaged, when, after the juicy opening guitar riff is established, punctuated by Faye's snappy percussion and underscored by a subdued, "gurgly" Sinclair bass walk, Gord S. slaps a second, more pronounced bass line overtop his initial foundation.
Check it out if you've never concentrated on it before: it occurs just after Downie utters the word "departure" for the first time in the first verse, at exactly the :50 second mark (according to the run-time displayed in my WMP menu bar).
And I'll take this opportunity to give Sinclair himself some accolades - I think that he is perhaps the MVP in the Hip's lineup. His influence is prominent in the artistic direction of this band, and from what I can glean, his modal orientation seems to steer the compositional aspect of this bands music more that any other individual member.
One of these niceties appears in Let's Stay Engaged, when, after the juicy opening guitar riff is established, punctuated by Faye's snappy percussion and underscored by a subdued, "gurgly" Sinclair bass walk, Gord S. slaps a second, more pronounced bass line overtop his initial foundation.
Check it out if you've never concentrated on it before: it occurs just after Downie utters the word "departure" for the first time in the first verse, at exactly the :50 second mark (according to the run-time displayed in my WMP menu bar).
And I'll take this opportunity to give Sinclair himself some accolades - I think that he is perhaps the MVP in the Hip's lineup. His influence is prominent in the artistic direction of this band, and from what I can glean, his modal orientation seems to steer the compositional aspect of this bands music more that any other individual member.
