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Monday, December 27, 2004
BB #07: MASON CITY
Intro, one, two, three, four, five, six, seven, eight, nine. They said it wouldn't happen! Uh, and by "they" I mean "me." STRUCTURE Another song with three very discrete sections, although they're all linked in various musical ways this time. Uh, except for the intro, which has not a damn thing to do with the rest of the song. The song begins with a synth line that goes like this: half note->sixteenth note octave up->sixteenth note octave down->eighth note octave up->eighth note octave down->eighth note octave up->new bar with note a step down. This cycles through four times and then repeats. Under it is an organ accompaniment and a simple drumbeat (quarter-quarter-quarter-eighth-sixteenth-sixteenth). After two cycles the synthline goes from descending to ascending and the drumbeat becomes fuller, with a delay applied to it with a feedback sufficient to build instead of decay, so that after a cycle and a half the sound of the delayed drums has totally overtaken the track and you can't hear the keys very well. Then at the end of the second cycle, everything cuts out, the delay begins to decay, and the verse begins. The first section begins with just claps, a piano playing chords in an eighth-eighth-quarter pattern, and Eleanor's double-tracked vocals. The latter in particular sound weird for some reason--they are maybe EQed with the bottom cut off to make her sound thinner, older perhaps. The reverb, too, is dusty, and overall everything has an aged feel. The chords for the verse are C-Am-F-C. A drumfill comes in at the end, and then full Moon-ish drums run through the chorus. The chords for the chorus are F-G-F-C-F-G-G-G. For the second verse, a heavily reverbed, frequency modulated synth line comes in, and this ensemble continues through the second chorus and the lackluster guitar solo, which takes adds a bass and, obviously, an electric guitar, and takes place over a verse-chorus cycle. Then for the third verse the drums and electric guitar drop out, the bass stays in, and an organ chord doubles the piano chords. This continues through the third chorus, halfway through which a totally out-of time kick-kick-snare drum part comes in that will form the basis for the next section. The section section begins with said drumbeat, an unaccompanied piano line doubling the melody, and Matt singing single-tracked, with light chords coming in halfway through. Then for the chorus the left hand joins in on the piano more strongly and plays a counterline. Matt sings a line, then whistles a line, then sings a line, then shouts "Wait!" and the drums play along for a few bars. The piano then comes back in and plays the verse and chorus melody, with a synth line gradually being added, and more enthusiastic drums (including crashes) coming in as they move through the chorus melody. Then there's another break, and we're on to the third section. Which starts off with Eleanor singing, what sounds like a nylon-string or baritone acoustic guitar, and a piano (the throughline on this whole song). In contrast to the previous section, which was ominous and open, this one has an immediately more upbeat feel, and soon resolves into a specifically laid-back vibe. A clean electric guitar plays along. The chords are A-F#m-D-A. (Down a third from the first section, you'll note.) After each line, a whistling synth riff plays. Everything's well-reverbed. After two lines, the guitar slides down to a third to a F#, then to an E, accompanied by piano and voice, then goes back into the regular verse progression. This time, there's a muddled, out-of-place sound in the right channel, that to my ears sounds distinctly like the bass riff from "Paw Paw Tree" passed through a bunch of filters. Then another chorus, then a noise-heavy guitar solo over a repeated A chord until the end of the song. In chart form: 0:00-0:42 Intro FIRST SECTION 0:43-1:03 Verse 1 1:04-1:23 Chorus 1 1:24-1:44 Verse 2 1:45-2:04 Chorus 2 2:05-2:43 Guitar Solo 2:44-3:03 Verse 3 3:04-3:21 Chorus 3 SECOND SECTION 3:22-3:43 Verse 3:44-4:08 Chorus 4:09-4:17 Drum break 4:18-4:43 Instrumental verse 4:44-5:10 Instrumental chorus 5:11-5:21 Instrumental break THIRD SECTION 5:22-5:32 Intro 5:33-6:03 Verse 1 6:04-6:14 Chorus 1 6:15-6:52 Verse 2 6:53-7:02 Chorus 2 7:03-8:14 Guitar Solo ANALYSIS First off, let me just note that this entry would not have ever been written, more than likely, had not two people responded to a previous entry and sent me some thoughts about "Mason City." I'd like to recognize those people at the outset here, and they are Dan Beirne, "an occasional (read: rare) contributor to Said the Gramophone" and Hayden Childs, of The High Hat. I will reprint their thoughts after mine, but first I'll run through what I came up with, with their aid. "Mason City" is the story of Eleanor, an old maid living with her overprotective father who has developed a career as a mail-order conman--er, con woman. As she has been shut into her house and is not allowed to leave because of past misbehavior (running around with criminal types and the like), she has been forced to turn to self-advancement by less than legal means, in this case insurance scams. Her con is to befriend lonely old men as "pen pals" and then cause them to fall in love with her. Consequently, she then takes out insurance policies on them, with their blessing, and with her as the beneficiary. Inevitably, the romance is broken off, but as she was the one corresponding with the life insurance companies, she then asks for extensions, borrows some money against this policy, and then uses this money to pay for a killer, who then offs the old man. In this particular instance, as she's pulled this scam a few times, she's working through an intermediary, an insurance fence of a sort, who refers to herself as "the Riceville widow." The fence sends her the loan (the "kill fee" if you will) along with a self-addressed stamped envelope in which Eleanor should return the fence's share of the insurance money, 2.6%. But Eleanor has problems--after this many times (or, it being her first time--hard to tell I suppose) she's having a hard time working the scam, and can only get Aetna to give her a policy on the old man's life. Two others reject her, and she's worried about actually getting the extension. Nevertheless, she sends off for the killer, Matt, who in the second section recounts his travels to get to Chicago, where the old man lives. We do not see the killing. In the third section we have a sort of flashback to Eleanor's golden days hanging out with the criminal element, and it seems she was actually the head of a whole con mob. It's just a bunch of slang, really, her giving a Guys-and-Dolls-ish monologue to the gang. To go line-by-line: "How are you my nabs?" How's it going, guys? "Little tender footed crabs," You're all so inexperienced. "Meet my knuckle duster." Why I oughta punch your eye out! "You geeches that gazoon's gow / tried to break into the bow" You brought the mark all the way to the end but then took it too far and got nothing! "go wipe your nose." You snot-nosed brat, get on with ya. "Prussian who got jackered," The German tourist you conned, "my snapper til you knockered," you used my trick so much it became obvious, "get on the snam." so get outa here. "The chivman wants your chip," The guy who keeps track of the money wants to account for your share, so where is it? "better dummy up then go dip," Better go look sympathetic before you break the bad news. "you're outa turn." But don't shove. "I learned that the lowest form of life is the buffer nabber," i.e., the jewlery thief-- "even worse than the dicer stabber" i.e., the gambler robber--she's all pissed off at a jewlery theif for stealing her make. Thanks to David W. Maurer's The Big Con for some of this. Now, here are the two interpretations. Dan Beirne This song is about money. Hayden Childs The first third of the song, as sang by Eleanor, is from the point of view CONTEXT The only thing is that Eleanor's character here is a precursor to, and maybe even an ancestor of, Eleanor's character in "Chris Michaels." Otherwise, the only thing it's close to in time is "1917," sorta, except that doesn't have much to do with anything else either. So it's of a piece.
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