Actually, there's all sorts of stuff on all the
albums. In the beginning of "Roses in Water," for
example, there's a "hum-a-na-hum-a-na-na" sort of
thing going on two progressions before the first
verse. In "Friday," there is almost no part of the
song with one vocal track; there is almost always some
sort of harmony (whether it's just the same thing an
octave down or something more complex) buried deep in
the background. Just goes to show how much effort the
band and producer(s) go through to make their product
(for lack of a better word this late in the evening)
so damn good.
--- Deion $ander$ <[EMAIL PROTECTED]> wrote:
> doesn't jeremy do that at the end of Red Elephant
> too? if we're thinking of
> the same thing, the part i have in mind is the only
> real "harmony/backup"
> part that is obvious in the whole song. there are
> others, but they're not as
> audible.
>
_________________________________________________________________
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>
> ATTACHMENT part 2 message/rfc822
> From: "jason stys" <[EMAIL PROTECTED]>
> To: [EMAIL PROTECTED]
> Subject: [sdre-l]: voices
> Date: Sat, 03 Feb 2001 17:17:45 -0500
> Reply-to: "jason stys" <[EMAIL PROTECTED]>
>
<HR>
<html><DIV>One of the coolest things about Jeremy
Enigk is the way he sings weird harmonies at the ends
of certain songs. Like at the ends of J'nuh,
Faces in Disguise and The Rising Tide. Any
others </DIV>
<DIV>you can think of?</DIV>
<DIV> </DIV>
<DIV>Also, if the bass on Snibe had the distortion on
it like the bass in Exit Music, it would be a much
cooler song. </DIV><br clear=all><hr>Get your
FREE download of MSN Explorer at <a
href="http://explorer.msn.com">http://explorer.msn.com</a><br></p></html>
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