A little trick for "I Knew I'd Want You"

[mcd220]

Yet another wonderful gem from Harold Eugene; this features a very strange, alomost a series of "Low rumbling trills" from Leon Russell on I THINK a Fender Rhodes electric piano. (Buddy?)

If you turn off one speaker, get rid of the 12 string, you can really hear it. There is also a vocal less version (Finished instrumental track) over at Sugarmegs, as well.

Like The Beatles "Baby's In Black", this is somewhat rare for a "Pop" song being in the time signature of 6/8.

I've always heard it as an early "Nights in white satin"; as the chords are almost all the same, and always wondered if Justin Hayward was influenced by it, since his song was written two years later.

Actually, there are ALOT of songs that do that "Em to D thing".

Ones that come to mind are "Play with fire"-Rolling Stones, "The One I love", REM, and for that matter, "Gilligans Island" by The Welligtons (Mosquitos)-Sherwood Schwartz (Gilligan, Brady Bunch,etc)actually wrote the Gilligan theme, BTW.

ANYWAY back to The Byrds!

What I like to do, is during the verses, is add a little chord between the Em and D, which kind of "Grabs" just a little of what Leon's piano, and the Bass is suggesting here. Another nice little trick, especially if your playing the song solo.

Ok, it's going: "I'd like to Love you, if you want me too", Right?

Right on the first word, "I'd", try this voicing in tab: 024000.

So, it's just like an Em, but the D string is fretted at the 4th fret instead. You would do this all through the intro, too.

So it goes like this: Em/new chord/D------Em/new chord/D. It rolls very well with the time signature of the song as well.

Pretty much first got to this chord years ago when I was working on Love's "Alone Again, Or" (Later covered by UFO), and also during the 12 string intro of "Sweet Maddame Blue", by STYX.

Another marvelous feature of this song, is the fact that it ends on a "Major" in the same key as what the song is in. Meaning, the song is in Em, but ENDS on an E Major.

This is yet another fine twist from Gene Clark, and the same thing is done at the end of The Beatles "And I Love Her"; modulating the entire song which is minor, into major at the very end. This stems from classical music, and produces an uplifting, promising, and hopeful end to a song.

Try that little chord twist out, I think you'll like it! :0)

Christian


"The Boxart Den"-World's largest display & collection of FULLY RESTORED rare & collectable model kit box art

http://theboxartden.com

http://groups.yahoo.com/group/Box-Art

http://www.myspace.com/craviola990

http://www.youtube.com/craviola990