Louie
Active member
This song has been done to death, and for good reason—it’s a great song. But the subject of “perfection” or when am I finished with the song, or when is this mix or production good enough, and such has come up in different guises on the forum already. So I wanted to post this as a demonstration of the notion that perfection or a final version of song is a temporary product of our state of mind. Partially that means taste (and for sure, taste is a thing developed over time). But at the same time, all too often, it is so easy to stress over things that have nothing to do with the essence of a song.
Part of what makes this song so good is not only the memorable melody and meaningful lyrics, but the way in which a II7 chord is inserted in just the right spot during the B section that makes an excellent contrast and leads so well back to the basic I,IV,V,I in the A section. Technically a “secondary dominant”, but psychologically functions as a pleasing element of surprise. Take that element away, and not the same song (to be fair, the melody also hangs on the flat 7 of that chord change). But notice how each artist in the examples below actually change the melody of the opening line and some other melody notes—same song. Also, the versions, other than Hank’s original do a rhythm section break during that opening line. It seems now like a normal feature of that song. Gotta wonder why Hank didn’t choose to have that break in the opening?
Those of us that have been doing music for a while know these things conceptually. But sometimes it is useful to take a step back and listen again to how a simple song can change through time and different versions to gain some perspective in our own work.
Hank Williams Sr. original version: notice how he phrases the opening line—“perfectly" in my book.
Also note the tempo.
Pattsy Cline version: again, notice the opening line phrasing, the tempo, more slow “western swing” feel. Perfect? You decide.
Elvis version: different opening phrasing and tempo. Now into 50s shuffle feel. Not to my taste, but I would say really good version within that 50s rock and roll framework.
Contrast Fat’s Domino with the Elvis version (more quintessential 50s 6/8 rock & roll feel maybe).
Finally the Ray Charles version
Again, listen to how that opening line is phrased. Ray squeezed more juice out of that line than I think anyone realized was there! Then after going back and listening to Hank's opening, I think I hear more bitterness and even a touch of sarcasm that I didn’t hear before listening to Ray’s version—amazing (another reason not to be too concerned about AI folks). The tempo is much slower in Ray’s version as well. With this version, the sophistication of the harmonic embellishments and orchestration are I'm pretty sure, way beyond what Hank Williams originally envisioned, but still true to the original chord progression, the spirit, and essence of the song.
Different styles and still no final version yet (where is the perfection?). But I believe all these versions capture the essence of the song.
Part of what makes this song so good is not only the memorable melody and meaningful lyrics, but the way in which a II7 chord is inserted in just the right spot during the B section that makes an excellent contrast and leads so well back to the basic I,IV,V,I in the A section. Technically a “secondary dominant”, but psychologically functions as a pleasing element of surprise. Take that element away, and not the same song (to be fair, the melody also hangs on the flat 7 of that chord change). But notice how each artist in the examples below actually change the melody of the opening line and some other melody notes—same song. Also, the versions, other than Hank’s original do a rhythm section break during that opening line. It seems now like a normal feature of that song. Gotta wonder why Hank didn’t choose to have that break in the opening?
Those of us that have been doing music for a while know these things conceptually. But sometimes it is useful to take a step back and listen again to how a simple song can change through time and different versions to gain some perspective in our own work.
Hank Williams Sr. original version: notice how he phrases the opening line—“perfectly" in my book.
Also note the tempo.
Pattsy Cline version: again, notice the opening line phrasing, the tempo, more slow “western swing” feel. Perfect? You decide.
Elvis version: different opening phrasing and tempo. Now into 50s shuffle feel. Not to my taste, but I would say really good version within that 50s rock and roll framework.
Contrast Fat’s Domino with the Elvis version (more quintessential 50s 6/8 rock & roll feel maybe).
Finally the Ray Charles version
Again, listen to how that opening line is phrased. Ray squeezed more juice out of that line than I think anyone realized was there! Then after going back and listening to Hank's opening, I think I hear more bitterness and even a touch of sarcasm that I didn’t hear before listening to Ray’s version—amazing (another reason not to be too concerned about AI folks). The tempo is much slower in Ray’s version as well. With this version, the sophistication of the harmonic embellishments and orchestration are I'm pretty sure, way beyond what Hank Williams originally envisioned, but still true to the original chord progression, the spirit, and essence of the song.
Different styles and still no final version yet (where is the perfection?). But I believe all these versions capture the essence of the song.
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