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![]() Decker also noted that even though "Joyful Noise" is written in the key of A and "Dark Horse" is written in B-flat, that's only a difference of a half step. The phrases also have a similar timbre - or distinctive quality of sound - using synthesized sounds to create a "pingy," artificial sound in the beat, Decker explained.Įven the texture of the sound in the phrases, such as the number of instruments being used, is unusually "empty," Decker said, with both introducing their beats in isolation.ĭespite the phrases ending with two different notes, Decker said "Dark Horse" uses a similar dip down in pitch to end the ostinato. He eventually isolated an eight-note melodic phrase beginning with four C-notes and two B-notes that he said seemed to indicate some musical borrowing on the part of Perry's songwriters.ĭecker said the melody for both phrases sits on the same note for four beats before descending in pitch. What's really blowing my mind right now is that Chris and Tom Hooper from Grapes of Wrath (an actual brother band!) are rocking the exact same look as Gary Louris from the Jayhawks (a psuedo brother band).įor the curious, here is what an expert witness for the rap artists - musicologist Todd Decker - testified on Friday (as reported in Law 360):įor this suit, Decker said he listened to Gray's 2008 song "Joyful Noise" and Perry's 2013 song "Dark Horse" back to back "countless times" before plunking notes out on a piano to try to figure out any similar-sounding patterns between the two songs. But the Grapes of Wrath song sounds more similar, actually. Pray for Me came out three years before Fire Escape, Miles Zuniga from Fastball is a documented fan of the Jayhawks, etc etc. White’s place among the hierarchy of all-time guitarists is very much debatable, but there should be no argument that he’s the top dog (or god) of this generation.I thought that Fastball guitar riff came from here: He has now released three successful solo albums - each of which thoroughly pushed the boundaries of what we think is musically possible. White’s prowess and genre-crossing capabilities are so substantial that he couldn’t be limited to just one band, as he also played with the Raconteurs and the Dead Weather during downtime with the White Stripes. The ever-eccentric White is simultaneously praised for both his minimalist style when it comes to equipment and his willingness to experiment with whammy and fuzz pedals, which results in effects like low-octave tones and a slide sound without actually using a slide. The duo (guitar and drums, no bass) quickly raced up the charts and dropped six highly acclaimed albums in just eight years before officially disbanding in 2011. Who says the world has stopped producing great guitarists? The White Stripes rebooted garage rock and brought it back to the mainstream with their self-titled debut in 1999, featuring the musical genius known as Jack White on guitar and vocals. In the end, one of the most telling things about Allman is if you ask a dozen people what the essential Duane Allman guitar song is, you’ll likely get a dozen different answers. Clapton later enlisted Allman to play with him on the iconic guitar track “Layla,” a fact music fans often forget. ![]() He did this with the Allman Brothers Band on Blind Willie McTell’s “Statesboro Blues” and Dickey Betts’ “In Memory of Elizabeth Reed” (see the 1971 live album “At Fillmore East” for both of these gems), and he did it as a session musician and collaborator, like when he dominated Boz Scagg’s rendition of Fenton Robinson’s “Loan Me a Dime.” In fact, upon hearing Wilson Pickett’s cover of “Hey Jude,” an astounded Eric Clapton said he’s never heard better rock guitar on an R&B album. When it comes to Duane Allman’s prowess as a guitarist, we can talk about epics like “Whipping Post,” but one of the most mesmerizing things about Allman was his ability to improve on existing songs (and the fact that he accomplished everything by the age of 24, when he tragically died in a motorcycle crash). ![]()
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