I think it's just that it's a perfect song. It's got these perfectly
balanced 3 verses, a huge repeatable chorus (I've looked at life...)
with a new twist each time, it's philisophical, has a great melody,
wonderful, colorful lyrics that progress yet tie to each other, a tinge
of that folk sadness,....it's all there.
Joni probably could have gone on creating more perfect songs like
this...but you know her: 'been there, done that'.
As for this being a three chord song- I guess you can do it that way-
but really it has these little minor chords thrown in, and the changes
are sometimes off the beat.
RR
[EMAIL PROTECTED] wrote:
> This is a very interesting thread. Why, out of all her songs including songs
> in about every imaginable genre, including the genre of all these different
> players, do they pick Both Sides Now.
>
> This gets to the core of what any song really is. A musical transmission of
> ideas concepts images and feelings. Now its interesting how all these people
> who may be only into one form or style all gravitate to this one song would
> have to mean that there is something in the structure of those three chords
> that hits smack dab into the mainstream of THEIR music. Emphasis on the word,
> their. The musical structure embedded in their musical minds contains
> something that finds attraction in those three simple little major chords.
> The inverse question being why the others do in a lesser way. If Hejira is
> such an incredible song to most listeners why arent all these other musicians
> of all these other styles doing Hejira. Why does or better yet how does this
> happen.
>
> Marcel
