Max Meazza – Nightime Call

 

Max Meazza - Nightime Call

Meazza @ discogs.com 

Cigarette smoke lounging inside of city cab, meandering out the cracked window like a 2am drunkard slithering the rain slicked streets.  Puddles reflect neon signing, endless always distant chattering.

1.  Nightime Call

 

               Intro is D-13 clashey chords including the minor 9.  On guitar these chords word particularly well: xx9960 and xx7968 and xx10 10 8 12.  Guitar plays some sliding 4^th riffs.  Horn (trumpet I think) introduced on G# to G, highlighting the #4 blue note.

 

               When the vocals kick in:

 

||:  D-13               |     F maj9    Eb maj9                 |   D-11                      |                                 :||

 

 

               After a few repeats:

 

||:      C-7    Fmaj          |  C-7  Fmaj           |  C-7   Fmaj                 | D-7   G7                                  |

|  D-7                             |                               |                                    |                                                ||

 

               Lots of big bad D- extensions in this one.  Almost modal like So What.

 

 

 

2.  Sweet Little Mistery

 

               Super mo town progression, Ab maj to F-,  Db maj to Eb7.

              

B section is Bb-7 for a few bars to F-7 for a few bars.

              

Second verse uses the same chord progression as intro but each chord holds double the length.

 

 

 

3.  Gas Service Station

 

               Main part:  Open E string on a lot of these chords.  Voicings below chord symbols.

 

               ||:  A maj9                 |   E-7                      |  D maj   C maj               |  A-                 :||

                ||:   x07650               |   0x5430               |      open voicings for these last chords   :||

              

               Woorrrkinn Woorrkiiin~

              

               ||  A- sort of A major blues thing  |                         |                     |F13     E7alt                   |

               |   A-                                                   |                            ||

 

               Fun voicing for F13:   x8788 10

               Fun voicing for E7alt:  0x6788

 

 

 

4.  Complicated Life

              

               Intro D ma7 and G maj7.

              

               When vocals come in:

 

               ||:  D maj7           |  G maj7                       |  D maj7                        |  G maj7                           |

               |      D maj7           |  A-9                             |   E-9                             |  A13                               :||

 

 

               After a few repeats:

 

               ||:  Gmaj add9      |  B7alt                    |  E-9    A13                       |  D maj7                          :||

              

               B7alt chord has like half a measure.

 

 

 

5.  Angel of the Night

 

               D maj and C maj and then form when vocals start:

              

               ||  D maj                   |   C maj7                          |  D maj                              |  C maj7                   |

               ||  E-7                        | D maj                               |  E-7                               |  D maj               ||

               |  A7 sus                     ||

 

               During the E-7 to D maj chorus, guitar is strumming D major triad on 10^th fret.

 

 

6.  Nervous Everytime it Rains

 

               Intro has A to F# trills on guitar, ends with open A note.

               Super simple.  First section chord progression is F-7 to Bb7 back and forth.

               Second section is C-7 to F7 back and forth.

 

 

 

7.  Shoes Full of Rain

 

               ||: Bb maj7                  |  C-7                     |  Bb maj7                    |  C-7   F7             :||

               || Bb maj7                  |  A7                      | E-7   A7                       | D maj7               |

               | E-7    A7                    |  D maj7              |  E-7    A7                  |  F#-   B-                  |

               | E-7    A7                    | E-7    A7             |  spacey chord then repeat  ||

 

 

 

8.  Get It On

 

               First part is like D maj7, A maj, E-7, with a lot of A in the bass.

               Second part is C-7 to Bb maj7, repeat then A 7sus.

               Chorus is C maj7/G to C maj7 a few times back and forth, then surprise Eb maj7, resolve C maj7.

 

 

9.  No One Cares

 

               Intro is D major pentatonic stuff over D maj and A7.

               Verse is D maj, B-7 to G maj, A7/G in bass…F#- to B-,  G maj, A maj, repeat. 

I, vi, IV, V, iii, vi, IV, V.

Tomoko Aran - I'm In Love

 

Tomoko Aran - I'm In Love 

Aran @ discogs.com

 

Intro

               Holy Moly girl!  What is this intro?  The bass plays then A E C D, and the piano sounds like some DENSE A-7.  Cool that’s hearable.  Then the next chord the bass plays A F C# D#.  So IZIT C# major scale with A natural?  Furthermore the piano sounds like some Ab major 7 thingy.  IDK, the parts seem like a jumble that shouldn’t go together but they made it happen.  A13 followed by D and I think E in the bass lead into the chorus!

 

Chorus!

||Bbmajor 7           |                                       | Fmajor 9                            |D7sus4           D7                |

|Bbmajor 7             |                                       | Fmajor 9                            |D-7             Ab13                ||

              

               Her vocal line: F G A, A Bb C A F G A. 

               For the first lead into the verse they smoosh that D-7 Ab13 into the 7^th bar after Fmajor 9.

 

Verse is easy peasy, Bbmajor 7 to Fmajor 9 just like the chorus!  The lead into the prechorus I believe is C13, B13. 

Prechorus does some Bbmajor 7, A-7, G-7, A-7.  Then Bbmajor 7, G-7, A7sus4.  Her vocals slams into the sus note (D.

              

Guitar solo section jams out on F-7, then Ab-7, C7sus, then A7sus. 

               Pretty straight forward and trendy!

 

               Some neato voicings:

                              Bbmajor 7:   xx3335

                              Fmajor 7   :   xx3555     or xx3553 if you want the F major 9

                              A7sus4      :   xx5757

 

               Intro brings us out!  Enjoy!

Mariya Takeuchi – Plastic Love

 

Mariya Takeuchi - Plastic Love

Takeuchi @ discogs.com 

    Intro!

||Bbmaj7    /A        |G-6     Fmaj            | Eb9    Bbmaj  Cmaj             | Dmaj                        ||

              

Triad riff during Bbmaj, Cmaj and Dmaj is:  A F D A, G E C G, F#.

 

              

              

Verse!

||G-7                       |C7b9(13)                  |A-7                                      |D-7                                |

 |G-7                       |C7b9(13)                  |A-7                                      |D-7                                 ||

              

This repeats a few times!  It’s a II V III VI in F major, neat jazz functional harmony!

 

               The segment where a sliding 4^th guitar riff comes in, the chords change up to:

              

||G-7                       |Eb13                  |D-7                                       |G9                                    |

|G-7                       |C7b9(13)                  |A-7                                      |D-7                              | |

              

Still largely in F major, however the chords that don’t “fit” are Eb13 and G9!  The Eb13 could be considered modal interchange from F minor (Aeolian).  Eb13 = bVII.  It’s a little wonky but really I think we’re just looking at Eb13 being a color chord that resolves half step down to D-7.  And G9 is acting as the V chord in a II V, where D-7 is the II chord.  So that’s like a II V from the key of C major, but since D-7 is in both C major and F major, the II V mini progression fits in that way.  Another way to justify throwing in dominant chords where it sounds good LOL.  But then the G9 resolves itself by going to G-7, and then we’re back in normal F major land.  The bass walks us from the D-7 by way of D, E, F, where F is the V to the next section (which starts on Bbmajor).

              

 

Chorus?!

||Bb major                      |C major               |Bb major                 |C major                     |

|E-7             A7               |D-7                        |Bb maj    C maj      |A-          D-                  |

|Bb major                      |C major               |Bb major                 |C major                      |

|Bb maj       C maj        | D major              |                                |                                   ||

              

               The E-7 A7 again is a little II V jazz action thrown in to resolve to the D-7.  E-7 A7 is borrowed from the key of D major, but instead the chords resolve to D minor.  

    The final 4 bars is our triad pal from the intro, wrapping up this city pop delivery evenly!  Enjoy!