tag:blogger.com,1999:blog-2367859846495854541.post5353926079868358043..comments2007-05-24T01:13:21.279-04:00Inverarityhttp://www.blogger.com/profile/09838650110847975337noreply@blogger.comBlogger1125tag:blogger.com,1999:blog-2367859846495854541.post-88356878099204110402007-05-24T01:13:00.000-04:002007-05-24T01:13:00.000-04:00It's a wonderful and evocative song, indeed. The death-march piano figure, repeated endlessly, the massed strings and horns (used so subtly!), the seismic bass (no earthquakes, just rumbling), the sensitive and continually evolving drumming of Richie Hayward, and above all the unearthly slide guitar playing of Lowell George.<BR/><BR/>Two pivots of the song: <BR/>- when George's guitar briefly moves from the left towards the center of the sonic picture at 1:35. Text can't describe it.<BR/>- when the song stops and restarts at 2:30, rotating about the drum passage.<BR/><BR/>I'm awestruck by the coda, too - nothing that you haven't heard early in the song, but it comes together so forcefully, so irresistably, that I'm overcome every time.<BR/><BR/>I agree with your view of the lyrics - "Look out below, the tides lean heavily like wine / We are all innocent in spite of you and me" somehow always gets to me. Segovia's appearance in the dramatis personae has always intrigued me - no military man or biblical figure he.<BR/><BR/>I've never been able to pick a favorite from this album - depending on my mood, any track would do. Seriously, Cale novices, Paris 1919 is damn near perfect <B>and</B> in print. It doesn't cover the man in full, but nothing does. Every moment you haven't heard it, you're poorer for it.Inverarityhttp://www.blogger.com/profile/09838650110847975337noreply@blogger.com