don't stop believin'

Take a listen to Journey's "Don't Stop Believin'." What a great arrangement. Especially the 2nd verse: wonderful interlocking parts, each filling in for the other and never stepping on each other. Some consider them an example of stadium-rock excess, but the song is a lesson in economy, right down to the soaring guitar solo.

Just listen freshly to what they do with the central riff, that syncopated lower-voice line. It's the single most iconic part of the song. Its most distinct feature is the consistent anticipation of the downbeat. (count 1-and-2-and-3-and-4-*ANNNND*...) Yet they're willing to violate that iconic syncopation for the sake of the arrangement, carefully shifting it back and forth, letting the note fall right on the downbeat at times when clarity demands it.

That second verse! Listen to how the drummer goes from the bow of the cymbal ('teng') to the bell ('ting!'), in relation to the chugging guitar, the subtle keyboard stabs, and the 2nd-guitar upbeats. Everyone's underplaying. It locks so well, and creates a percolating texture that gives interest right where it's needed.

And it's all placed so well in the stereo field. Crucial tracks are placed much further left or right than in a lot of rock. Great on headphones.

Many people can't identify or explain such factors, but the factors nevertheless make a difference in our subconscious, and that's why a song like this is so likeable and has staying power.