Tuesday Tunes

There’s a misconception about the Bass Guitar: it’s the easiest instrument to play. It stems from the assumption that you only hit a single note at a time. And when compared to the guitar, you have five less strings to concern yourself with. Compared to a piano, it doesn’t have 88 distinct keys. Compared to a bicycle, it doesn’t have wheels. It doesn’t take long to sound okay at playing Bass. But making Bass sound effortless takes a lot of effort. Keep that in mind as we listen to …

The Song(s)
Song: Mary
Artist: Ivory Hours
Album: Mary - 2014 - Unsigned
Method of discovery: Spotify Discover

Research: Ivory Hours are from London. Not that London. The London that’s in Canada (List of Londons in the links). Although it seems like they’ve now moved to Toronto. They have enjoyed some commercial success and have been able to share stages with several other Canadian Musicians. I’ve read their sound described as ethereal, which I agree with. It’s this ethereal quality, like a Siren convincing you toward the rocks, that allows them to get inside your head and hit you with ‘the feels’. This song is a perfect example.

Personal thoughts: This is one of those dangerous songs that is easy to hear, but tough to actually listen to. The familiar Drumline, the delay on the melodic guitar, the harmonies, and the Bass gluing it all together. Whoo boy! That Siren looks good. They sonically lull you into a false sense of security, too. The guitar drops out when the vocals come in, and comes back to embelish the gaps behind and between the lines. the the chorus comes, and hits with a wall of sound. But not for too long (that’s for later). Back to the comfy quiet quiet place for a second Verse. then again with the wall of sound, but this time it lasts until the very end.

The Lyrics tell the story of the eponymous Mary falling into a drug addled existence, and not even her closest friends can recognise her.

Mary felt a little low
Needed a pick me up
Mary tried a little Coke
Now she can’t get enough

That’s essentially the whole story right there. The rest of the lyrics paint consequences that flow from the start of the song. And the choruses plead with Mary to ‘come home’. The Bass, in my mind, is perfect. It’s unobstrusive, but interesting. Any less and the ear could become bored. Any more and it could take too much of a starring role. The one ‘in focus’ moment is at 1:20. It doesn’t hog a spotlight, it doesn’t even take a step forward. It simply reminds you to listen in as to the singer getting a litte more desperate. This desperation isn’t vocalised as much as it is supported by the structure and chords.

Theory: Like a coal company in the 1800’s, Mary relies on more minors than your average four-chord-song. Verses supplement the typical IV chord out of rotation, opting for I-iii-vi-V. It even stays on the vi longer before slipping through the V. This delays the typical resolution that you would get from evenly spaced chords. Then the chorus comes along with I-iii-vi-IV, avoiding the V entirely, starving us of that juicy resolution that is a V-I inside, or exiting, a chorus. The first time we hear the chorus, it’s only once: short and sweet. The second time we get a chorus twice as long as the first, and then the whole thing drives up another tone and goes around again, giving us fours times the original chorus. I imagine the singer driving round in a car trying to find Mary. This first chorus expresses the simple wish for her to return. But the second chorus repeats and gets more intense. The singer is pleading now, hoping to find her. The song finishes on the I. I hope that means she’s safe.

Give it a go: Two jumps in a week. I bet you think that’s pretty clever don’t you boy.

Give it a miss: Hey, Mickey, you’re so fine. You’re so fine you blow my mind!

[links]
Spotify: Mary, Ivory Hours, Tuesday Tunes
Ivory Hours: Website, Twitter, Instagram, Wikipedia
MISC: List of Londons