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Re: (TV) Re: Foxhole

"Philip P. Obbard" <pobbard@yahoo.com> wrote:
> ...reminds me of my all-time favorite Television tribute, Fine's version of
> "See No Evil", from the first tribute CD (http://tv.obbard.com/tribute/), which
> seamlessly substitutes in the guitar solo from "Ain't That Nothin'" (Mark, were
> you subliminally referencing this in your comparison?)

Not unless it was a Freudian slip, because it wouldn't support my point!

My point was that the solo in "Ain't That Nothing" is integral to the song.
I only picked that song because of its similarity to "Foxhole" and because
it appears on the same album.  Also, I do like the tone and fat/thin aspect
of the solo, as someone mentioned, and I can believe this solo would be an 
ornament to any song.

But the real question is not _can_ a solo be moved to another song, (which 
I suppose is possible as long as the rhythm and tempo are roughly the same 
and so is the key, if the solo establishes a key), but does it work equally
well in the new location?

If guitar solos can be moved willy-nilly from one song to another with no
loss of continuity, it doesn't say much for the composition.  I'm enough
of a traditionalist to believe in form: sections of music should be connected
by something and not totally arbitrary (unless you are writing "avant garde"
conceptual music and being arbitrary is the point of your peice--God save
the poor audience!).

Richard Lloyd certainly likes to do solos, but my impression is that he
doesn't favor the gratuitous, ornimental kind that used to be obligatory
part of rock, especially live.  My impression is that he believes that 
solos should be functional in terms of the overall composition.  And I've 
always thought of Verlaine as even more opposed to set-peice solos and 
inclined to an architectural approach.  That's one of the things I like 
best about Television's and Verlaine's music: how little bits of lead 
guitar that are nothing much combine in surprising ways.

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