In all the sweat, excitement, and hullabaloo—the inevitable cacophonous vanity of winning and the wailing sorrow of losing—we were able to pause at some length, as March became April, to reflect on some of the poetic and musical elements which matter, in this Song March Madness Final Four.
The Scarriet muses stunned the world with their musical analysis of “It’s All In The Game” (see the previous post) and we detect by the nature of the noise coming up the stairs “It’s All In the Game” has defeated Pete Seeger’s lovely “Danville Girl” and will be playing in the Final for the Championship.
Their opponent will be the winner of “Shaman’s Blues” by the Doors versus “The Good Life” by Nancy Wilson—two philosophical songs. Nancy Wilson advises the listener not to “fake Romance” and to jettison the self-deceiving “good life.” Jim Morrison reflects sadly that he was in “the meadow” while “you were in the fields.”
Scarriet is not musically savvy enough to analyze the jazz chords of “The Good Life.” It sounds to us like lots of half-tone steps are at play in a rather traditional pop arrangement. “The Good Life’s” tune is melodic and charming and sounds like it resolves with sophisticated but superficial jazz shadings. Jack Wilson (no relation to Nancy) provides the musical counterpoint on piano to Nancy Wilson’s vocals.
Robby Krieger does the same for Jim Morrison—with his ethereal electric guitar.
“Shaman’s Blues” (in 6/8) mainly uses 2 chords—E minor, for most of the song, and A minor—and G in brief transition. Very simple, in that regard. Blues, but if it’s possible, even simpler than the blues. The Doors, if anything, had a genius for the simple and the primitive—exploring, with some classical and jazz background, realms which are not sophisticated at all—as if the best elaboration were an elaboration on nothing—allowing Morrison’s “shaman” free reign. At least it seems so in a few of their songs—and especially this one, put together in the midpoint of their 5 year career.
“Shaman’s Blues” defeats “The Good Life.” A somewhat forgotten rock song has gotten the best of an almost-jazz-standard-classic.
Can “Shaman’s Blues” (1969) win it all against the highly polished “It’s All In the Game” (1958)?
This battle is almost like a baroque or 18th century classic (the 50s pop perfection of Tommy Edwards) against a 19th century, more modern, classical piece.
In many ways the Doors are the emotional Beethoven of rock music. Morrison indulged in a freedom of expressiveness which was foreign to Tommy Edwards, even as the Doors continued to utilize a rather simple and rigorous pop template. Jim Morrison was, Scarriet feels, more than anything else—appearances aside—an insecure poet.
“Shaman’s Blues” against “It’s All In the Game” for the title!
“Shaman’s Blues” wins!
Thanks to all 64 songs which competed.
In a surprise, the Doors are Champs.
#marchmadnesssongs