R.E.M. - "Moral Kiosk" (1983)

Never realized before how big of a difference there is between the production on Chronic Town and Murmur. Maybe a big part of the appeal of Murmur is just how wet it is and yet how clear it is at the same time. On this track, the guitars are wet enough that they become a little obscured when the background vocals come in, but they're so crisp and clear on the verses and the two-line refrain.

Great example also of how R.E.M. were successfully blending things that were a little more harmonically abstract (the verses) with real power pop-oriented harmonic richness (the refrain).

"Moral Kiosk" on Lala.

The Beatles - "All My Loving" (1963)

Rhythm guitar part is marvelous and the choice of chord voicings helps provide a sense of consistency through the whole progression. The highest note of each chord, on the high E string, only moves about slightly, starting at F# for the F# minor and B major chords, moving up to G# for E major and C# minor, up to A for A major, and then back to F# for F# minor, D major, and B major. Contrast in the ending when we hear the high note all way up on the ninth fret for C# minor and the twelfth fret for the next-to-last E major chord.

Afterglow - "Chasing Rainbows" (1968)

A lovely harmonic structure throughout and some nice structural aspects. The first line of the chorus is an irregular three-bar phrase with words that rhyme with the last line of the preceding verse. This line is a part of the chorus and yet functions as a lead-in to what might be considered to be the chorus proper. The cymbal-less drum pattern heard in the instrumental intro returns in the bridge, which the composition is already plunging into at 0:43. Chorus returns afterward, but this time the lead-in involves two lines and goes for five bars instead of three. At this point, the composition is only at 1:19 and yet, already, it moves to its final segment: one more repetition of the very nice chorus.

Afterglow album on Amazon.

The Impressions - "Man Oh Man" (1965)

Holds together an arrangement at only about 74 beats per minute with fluidity, precision, and changes in dynamics. Really charming compositional elements in the way the bridge comes to a quick end (no rhyme at the end of the last line) and how the third verse repeats just because it's good enough to play it again.

"Man Oh Man" on Lala.

Every Mother's Son - "Come on Down to My Boat" (1967)

The intro is really remarkable on this. Very difficult to count or even hear where the upbeat or downbeat is. Excellent, unusual drumming continues throughout, particularly notable on the chorus. (Also note the fills at 1:43 and 2:13.)

"Come on Down to My Boat" on Lala.

Shonen Knife - "A Day of the Factory" (1983)

Excellent compositional craftsmanship on this song from their first album. Over three and a half minutes, but the intro is only thirteen seconds. One verse, and then a short refrain of a different melody over the same chords. Different chord progression used as a link and then back for the second verse, but they lay out for eight bars before it starts. Different words on the repeat of the refrain.

"A Day of the Factory" on Lala.

Boston - "Peace of Mind" (1976)

Slightly over five minutes, but nothing too out of the ordinary in its structure. Could easily have ended around the four-minute mark, but that instrumental coda, coming from the intro and building guitar harmonies upon the lengthy melody, goes on for over a minute to end the song. It's a progressive move, but so simple, so tightly constructed, and very charming.

"Peace of Mind" on Lala.

The Beatles - "Don't Bother Me" (1963)

The rhythm guitar is really nice on this - perhaps a bit of a precursor to the rhythm part on "I Feel Fine."

Klaatu - "Dear Christine" (1978)

Simplicity emerging out of progressivism, not as a retro style but as structural pristinity.

With only two verses, this song's nearly four minute duration comes primarily from repetitions of its beautiful chorus.

The entire Klaatu catalog (CDs, LP, and mp3s) on BullseyeSongs.com.

The Paley Brothers - "Too Good to Be True" (1978)

Here, it's the guitars that turn a fairly simple power pop song into a bit of a tour de force. Really unique and pleasant mixture of parts and tones, right through to the closing.

"Too Good to Be True" on Lala.

Shoes - "Too Late" (1979)

Such a period piece, and a very nice composition made great by the unusual vocal harmonies in the chorus.

"Too Late" on Amazon.

R. Stevie Moore - "Melbourne" (1976)

After the intro, a pleasant enough melange of sounds. First diversion is cut off after two bars and ends up functioning as a closing for the first (post-intro) section. When it comes back at 1:40 after the repeat, these same materials blossom into some kind of bold transcendence.

"Melbourne" on Lala.

Forever Amber - "Silly Sunshine" (1968)

True British Invasion-style compositional richness, but from 1968. Very moving to hear that essence, already lost at the time, preserved and delivered so beautifully.

From the album The Love Cycle.

Bobak, Jons, and Malone - "On a Meadow-Lea" (1970)

The yin softness of a contained space. Graceful, even noble, movement ("Riding on a meadow-lea") within that space. Joy not just in light but in shadow.

"On a Meadow-Lea" on Lala.

Os Mutantes - "Desculpe, Babe" (1970)

Whatever genres this song may be said to evoke, it is an instance of bull's-eye compositional archetypicality: the great triumph of musicians managing in precisely that archetypicality to perhaps, in a small but profound way, say something for a whole culture, a whole people.

"Desculpe, Babe" on Lala.