That second line is rough. (:16-:30 in the clip above) It requires picking notes out of the air that are very much not in the chord/key that you are currently in, several times in a row.
The bulk of the song itself is not too bad, totally singable:
I especially love what happens at the end of the bridge. After a little hairiness, it's like Mr. Wolf wrote himself into a corner with the ii-V leading back to G, not the song's key of C. So rather than rework it, he does the first measure of the last "A" section in G, then abruptly goes back to C. Brilliant.
The Coda is where he really kicks you in the mouth. (5:07 in the clip) If you miss the coda of this song, you are boned. That Eb-7, and the melody over it, come out of nowhere. It's a pretty long coda, which is refreshing, and the composer makes sure to get a few more jabs in before the end. The whole last line is pretty acrobatic, with big leaps, then a descending line with two consecutive half-steps to end on what is a pretty low note for most singers. If you can tell the character of composers from their work, I would guess that Tommy Wolf was a very clever, total pain in the ass.
Add to these things a pretty large vocal range and an obscene amount of verses and lyrics - it is no surprise that the song is not performed very often. Its obnoxiousness is no accident; this is the work of someone who wanted to make singers unhappy. I can't help but admire.
Just wanted to let you know I greatly enjoyed this post (and some others of yours). I'm trying to amuse myself by singing this song (one can learn a hell of a lot of things doing this kind of ear gymnastics), and I found your comments both hilarious and accurate. Great job!
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