The wisdom of The Hall continues to amaze me. For as many knowledgeable individuals who dazzle with their rock knowledge, it is the collective wisdom of our participants that I find most dazzling.
It is in this spirit that I want to allow for further amazement—not only for the people but by the people. I was going to try to turn this into my own original post, maybe even do a few minutes of research on the Web, but then I thought better of it. Instead, I’d like to pose a question to the collective wisdom of The Orockle.
The question I’d like to pose—and one that I hope will inspire other questions we’d like to have asked when we had more time to find the answers ourselves—will follow a little bit of background. Read on, please.
I’m a big fan of The Specials‘ second album, More Specials. I especially like the weird “cocktail ska” songs on that album, like this one, “I Can’t Stand It,” featuring—maybe unfortunately so, if you don’t share my taste for awkward, off-key British girl singing—Rhoda Dakar in, for the most part, a unison duet with equally delightfully awkward and imprecise Terry Hall. My question concerns whatever it is that happens in the final section of the song, beginning at the 3:08 mark of this video. I have a hard enough time grasping the mechanics of harmony singing when two precises vocalists sing together, but when Dakar jumps up to a higher plane than she had in previous, paralell points in the song I’m really confused—and even more delighted. Is she suddenly jumping up to a harmony line and octave higher than the natural harmony where Hall is singing?
This question will likely be a no-brainer for The Orockle, but my hope is that it will inspire others to pose their long-held music-theory mysteries for analysis and discussion. Thank you.