"It's All Over Now, Baby Blue"

I listened to Ballad of Easy Rider yester-day and noticed an-other small feature in the line "All your seasick sailors, they are rowin' home."  The repetition involved in the alliterative "seasick sailors" lends a sense of this multitude.

"5D (Fifth Dimension)"

I listened to The Byrds' Greatest Hits yester-day and noticed some significance in the melody of "5D (Fifth Dimension)."  In the line "And be still floatin'," "still" has a longer value than the surrounding notes (roughly two full measures), and this duration gives some sense of continuation, illustrating the word's meaning.  Similarly, "all" in the line "I found all surroundin'" is held longer than its surrounding notes, here giving a sense of extent.

"Here without You"

I was thinking about "Here without You" yester-day and had a small realization about the line "Though you're far away" in the bridge.  Between "you're" and "far," the melody jumps a sixth (from E to C), and this large musical interval suggests the distance of "far away."

"The Christian Life"

I listened to Sweetheart of the Rodeo and Dr. Byrds & Mr. Hyde yester-day because it was Roger McGuinn's birthday, and I noticed a small feature in "The Christian Life."  Under "a whole world of fun" in the line "They say I'm missing a whole world of fun," the bass plays a phrase of all different pitches (E F# G# A), suggesting the breadth of "whole," especially since this G# is an accidental in the song's D major.

"She Has a Way"

I listened to Mr. Tambourine Man this morning and noticed two instances of a small feature in "She Has a Way" (included on the CD as a bonus track).  The repetition involved in the alliterative phrases "so sweet" ("She looked so young, and she seemed so sweet") and "so strong" ("But I didn't realize my love for her was so strong") lend a sense of degree (for "so").

"So You Want to Be a Rock & Roll Star"

I was thinking about "So You Want to Be a Rock & Roll Star" yester-day and had a small realization about one section.  I'm not completely certain of my transcription, but I'm pretty sure it's:

And with your hairs combed right and your pants too tight

It's gonna be alright

The phrase "too tight" exhibits consonance, and the repetition of this T sound provides some sense of degree (for "too").

This section also features extra internal rhyme (compared to "And in a week or two if you make the charts / The girls'll tear you apart" later), and in a way, this more elaborate structure matches the lyrics.  Both seem concerned with making an impression.

"Chestnut Mare"

I listened to (Untitled) last week and noticed a number of features in "Chestnut Mare."

The phrase "Always alone" in the first line exhibits alliteration, and the matching initial sounds of these words provide senses of constancy (for "always") and singularity (for "alone").

The grammatical structure of the line "She doesn't know what to do for a second, but then she jumps off the edge, me holding on" illustrates the meaning in a way.  Unless I'm mistaken, the phrase "me holding on" is an ablative absolute.  Regardless of the precise term, it doesn't have a strong structural connection to the clause "then she jumps off the edge," and in the same way, the narrator lacks a firm grip on the horse.

The section starting with the line "Above the hills, higher than eagles were gliding" lacks the bass and drums that had been present since the song's third line.  That the musical bottom has dropt out, leaving only the higher elements, mirrors the sort of airiness of being "Suspended in the sky."

"All" in the line "Exploding all around" is sung with a melisma (F# E), lending a slight sense of breadth.

After the line "We hit, and we splashed it dry," there's a cymbal crash, apparently meant to represent the splash.

"Jack Tarr the Sailor"

I listened to Ballad of Easy Rider yester-day and found in "Jack Tarr the Sailor" the same sort of construction that I noticed in "It's All Over Now, Baby Blue" in the fall:  the lines "And as I roamed the streets of Bath, the whores, they all would roar, / 'There goes Jack Tarr that poor sailor; he must go to sea once more'" contain a pleonasm, and while this redundant "they" isn't necessary grammatically, it does provide a sense of amount (for "all").

"I Come and Stand at Every Door"

Earlier this week, I was thinking about "I Come and Stand at Every Door" and realized that the structure of the rhyme scheme may have some significance.  It's ABCB (with a slant rhyme between "blind" and "wind" in the third verse), and the distance between the rhyming words suggests the same sort of expanse or breadth that's hinted at in the title line (in "ev'ry" specifically).

"It's All Over Now, Baby Blue"

When I listened to The Byrds Play Dylan a second time recently, I noticed some small significance in a line in "It's All Over Now, Baby Blue" (the first version, recorded in June 1965).  "All your seasick sailors, they are goin' home" contains a pleonasm, and while this redundant "they" isn't necessary grammatically, it does provide a sense of amount (for "all").

I referenced the version on Ballad of Easy Rider and discovered that the line is slightly different there:  "All your seasick sailors, they are rowin' home."

"Just Like a Woman"

In the line "Ev'rybody knows that baby's got new clothes" in "Just Like a Woman," "ev'rybody" is sung to notes of all different pitches (G F# E D), providing a sense of breadth or entirety.

In the lines "But lately I've been noticing her ribbons and her bows / Are fallin' from her curls," "fallin'" is sung to a descending pair of notes (B F#), illustrating its meaning.

"It's Alright, Ma (I'm Only Bleeding)"

This is just a small point, but "the wise men and the fools" in "It's Alright, Ma (I'm Only Bleeding)" (a live recording that's on The Byrds Play Dylan and (Untitled)/(Unissued)) is a merism.

"Lay Lady Lay"

Last month, I saw a reference to Bob Dylan's "Lay Lady Lay" and started wondering whether the features I'd previously noticed in the song were also present in the Byrds' version.  Twice recently, I listened to The Byrds Play Dylan, which contains the single version and the alternate version (which I'm more familiar with since it's a bonus track on Dr. Byrds & Mr. Hyde, which I've listened to more than The Byrds Play Dylan).

As in Dylan's version, there's something of a temporal merism in the lines "I long to see you in the morning light / I long to reach for you in the night," and the bass plays a repeating chromatic phrase (C B Bb A) under the title lines ("Lay, lady, lay / Lay across my big brass bed"), emphasizing the breadth of "lay[ing] across."  (Unless I'm mistaken, though, the songs are in different keys.)

I also noticed that the alliteration in the phrase "big brass bed" lends a sense of this size (the repetition gives an indication of degree).

"You Ain't Going Nowhere"

A couple days ago, I watched this video of "You Ain't Going Nowhere" and "Truck Stop Girl" from a 1971 performance.*

I realized that the structure of "You Ain't Going Nowhere" has some significance.

There are exceptions, but for the most part, the verses have the rhyme scheme AAAB, where the last line is "You ain't goin' nowhere."  In a way, the recurring sounds of the rhymes (especially in the third verse where there's extra internal rhyme in the line "Buy me a flute and a gun that shoots") and the repetition of the title line both match this immobility.

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*I referenced Christopher Hjort's So You Want to Be a Rock 'n' Roll Star: The Byrds Day-by-Day 1965-1973, and I'm almost certain this video is from Brussels, Belgium on 18 May.  Hjort notes that the show that day was filmed and even provides a set list, in which "You Ain't Going Nowhere" and "Truck Stop Girl" are back-to-back.  The location also explains McGuinn's introduction in (bad) French.  He says, "Chantons de Bob Dylan" ("Let's sing about Bob Dylan"), but I think he means, "Chanson de Bob Dylan" ("a song by Bob Dylan").

"Hungry Planet"

The phrase "all alone" in the line "Now here I am all alone" in "Hungry Planet" alliterates, and because the two words start with the same sound, there's a sense of this singularity.

In the lines "Oh, the people kept choppin' down / All my finest trees," "down" is sung with a descending melisma (C Bb), illustrating the meaning.

"Yesterday's Train"

The phrase "dust to dust" in "Yesterday's Train" comes from the Bible, specifically from either Genesis 3:19 ("'you are dust, and to dust you shall return'") or Ecclesiastes 3:20 ("All are from the dust, and to dust all return").

In the line "Yesterday's train is rollin'," "rollin'" is sung with a melisma (G F# E), giving a sense of this movement.

"All the Things"

"See the sun, how bright it is" and "See the earth, how sweet it smells" in "All the Things" seem to borrow their structure from the Bible, specifically "'Consider the lilies of the field, how they grow'" in Matthew 6:28 (it's condensed a bit in the parallel passage in Luke 12:27:  "'Consider the lilies, how they grow'").

In the chorus ("All the things I want today / All the things I wasted on the way"), a second vocal part comes in to harmonize with the lead vocal, and because there are two voices, there's a slight sense of the entirety of these "all"s.

A few days ago, I figured out the chords and discovered some connections between the progression and the lyrics.  The first line of each verse is:

D major | C major | G major | D major

And the second line is:

D major | C major | G major

Compared to the previous line, there's a D major missing at the end of this line, and to some degree, this lack matches "no one's there" in the first verse ("See the sun, it shines right through my door, but no one's there") and "forgotten, left behind" in the third ("See this dried up broken straw, forgotten, left behind").

"Truck Stop Girl"

When I started this project, I'd listened to (Untitled) only twice.  I've become more familiar with it over the last few years, and I'm going to start writing about it, although most of my initial notes will be just small points.

In "Truck Stop Girl," "young" in the line "But he was so young" (which occurs later as "And he was so young") is sung with a melisma (Eb Bb), giving a sense of degree (for "so").

"Mind Gardens"

There are a number of instances in "Mind Gardens" where musical or poetic characteristics match the meaning of the lyrics.

The word "high" in the phrase "On a high hill" is sung to the highest pitch in the phrase (C# D E B).

The phrase "rain pourin' down" is sung to a descending melody, with "down" sung with a descending glissando (D C# B B~A).

The sequential words "safely" and "securely" alliterate and rhyme, and these repeated sounds lend a sense of that steadfastness.

"Have You Seen Her Face"

Yester-day was Roger McGuinn's birthday, so I listened to Younger than Yesterday, and I noticed a handful of small features.

In the line "A style made up to capture all she needs" in "Have You See Her Face," the phrase "all she needs" is sung to notes of all different pitches (G A F#), giving something of a sense of breadth.

The same sort of feature is present in the phrase "All the sights and sounds" in the third verse:  "sights and sounds" is sung to the notes B A# A.  That the A# is an accidental (I'm pretty sure the song is in D major) lends a further sense of this entirety.