Probability Tempo Legal Map – FIGHT SONG, the theme for the Democrat Party. At 88.8 bar bpm, the most perfect song even chosen?

In the title I ask the question that at a crisp 675 ms/quarter note, or as drummers say 88.888…n beats per minute, FIGHT SONG in my humble opinion is the best campaign theme song any candidate has chosen, period.

Fleetwood-Mac | Dont Stop Thinking About Tomorrow- meanspeed map of music cartography - 0628
Fleetwood-Mac | Dont Stop Thinking About Tomorrow- meanspeed map of music cartography – 0628
Fleetwood-Mac | Dont Stop Thinking About Tomorrow- meanspeed map of music cartography 0409
Fleetwood-Mac | Dont Stop Thinking About Tomorrow- meanspeed map of music cartography 0409

Jim Deluva (biz name), producer and Democrat and lover of all things ceremonially uplifting said to me on the phone: “Dude, the last time the White House had good public music was the second inauguration of Bill Clinton! This song is perfect dude. That Adele crap had to go.  Not crap. Just that introspection in “Hello” – it sounds like she’s Jesus descending to Earth from the heavens – I mean, her voice is 10+ and she knows its, man.  Fight Song?

Fight Song Rachel Platten
Fight Song Rachel Platten Probability Tempo function

That song rocks.  Int reminds me of that one Adele song I like, what is…oh…Hometown Glory.  But even that song dude.  Like, ever hear the album version?  The lyric is that she’s not going to “stash it” from the police anymore, consistent with, for example, dude, Colorado law.  It’s for use.  Not selling it to kids.  Right?  So the single says, she actually gives into some divination extortion group in that record company she’s with =- who’s she with again, dude, Arista – I know Phil Collins made an offer for help to Adele which she spurned and pissed Phil off to the point where he respired his career and is making more per show than she is. What was I saying?”

And on Jim went to an eight-hour session at Forever Fields studio on 45th & 9 Ave and recorded the bass tracks to 17 new songs – none of which he’d seen before.  Just watched him put the headphones on, playing around the click, drum track, guide vocal. Jim deserves the accolades he gets.  As he’s said, “that song ‘all about that bass’ was a bunch of bull, man. EVERY song, we’ve talked about this dude, every song that makes it has one thing in common.  A bass line that is different.  The Beatles.  Case Closed.” Me: “Dude, I tell that to all the young musicians I know. Too many are just soloing and trying to make dramatic harmonies, and that’s fine, but when the bass line isn’t there…well, you went to that Kitaro/Jon Anderson concert with two Eastern European bass players.  You said, ‘That music was so on the verge of confusion that the “and” on the 3 was getting the crash symbol, the “one” was getting loud snare snaps, and the fours featured showing off on the floor tom.’ I remember you quit playing all music for 2 days.”

That was true. If Motown doesn’t tell you that 80% of any song is the harmonic groove with a stress on the bass line and a quirk within that line, well, you’re not listening.

 

matherton w help on measurement of speed by Dr. Jonathan Stone