As is so often the case, I was introduced to this tune by one of my students. He was really into Mason’s drumming, so I offered to transcribe some of it. Obviously, with a running time of 15’45” I wasn’t going to attempt all of it, but the first few bars provide enough food for thought. In fact, for the first half of the tune, the drums and synth bass are locked into a tight groove with the occasional fill turnaround to give things a bit of structure.
And so, onto my ‘Chameleon’ drum transcription (or bits of transcription), which you can download here.
I want to learn Music Theory out of penance…I seduced a Georgia Bar Maid who professed to me an secret appreciation of JAZZ. I asked her who was her favourite Jazz Musician and she said KENNY G. I screamed “Oh, Hell No!!!”, stopped the car at the nearest record store (remember them?) and bought her two ? CDs, Miles Davis’ ‘COOL-JAZZ ‘ classic Kinda Blue (1959) and Herbie Hancock’s Fusion (Rock-Funk) Jazz masterpiece HeadHunters (1973). As to “Chameleon/Thank You for let me be myself again”. I directed ‘Shelia’ (sic) to Mason/Malpin’s bass-drum synchronization, BS’d an explanation and it got me laid.
Then I went out with a college professor who applied Music Theory to my favourite Beatles Songs and I felt ashamed what I did to Shelia (my one night stand)
I want to know WHAT Mason is specifically doing in Chemelon, why he did what he did and where he was planning to go with it in the song. If he added a triplet, did he do it just to show off? Did he use it as a transition to the next set of notes or did he want to play with Time signatures to alter the feel & pace of his attack? I am an Audiophile not a musician.
The bass drum is actually on 2 & 4 in the middle section, not 1 & 3. I watched Harvey play this w Herbie shortly after the record came out. You are probably not feeling “one” because the bass part is so syncopated. .
Good shout – yes, I think you’re right. When I count-in from the proceeding section it does sound more like the bass drum is on 2 and 4.