Understanding Get Lucky
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- Опубліковано 28 вер 2024
- I'm up all night to analyze music.
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Get Lucky was a cultural phenomenon, and it revitalized the careers of Daft Punk. The band had been slowly fading into obscurity, but by radically reimagining their approach to music and bringing in amazing collaborators like Nile Rodgers and Pharrell Williams, the robot rockers were able to capture lightning in a bottle one more time. Let's talk about how!
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Some additional thoughts/corrections:
1) While I was working on this, Middle 8 released a video about Random Access Memories. I haven't watched it yet, to avoid accidentally copying his analysis, but it's probably good if you want more Daft Punk content: ua-cam.com/video/Qzs5cVA5goo/v-deo.html
2) If you don't believe me that Hakim could absolutely have played a much more complicated part if he wanted to, just look up any number of interviews and performances he's done. The dude was chair of the percussion department at Berklee for a while, he knows how to play drums. Playing simple here was a choice.
3) Honestly, 90% of the stuff I said about the drums is absolutely not unique to this particular song, but I feel like in music theory circles we often don't spend enough time appreciating the importance of a good, foundational drum beat so I wanted to talk about some of those techniques.
4) One thing I noticed while syncing the animations was that the clap actually seems to sound a fraction of a second _before_ the snare, giving it a bit of microrhythmic push and a sense of increased energy and urgency. It's extremely subtle, and would have been very difficult to demonstrate in the video even if I'd noticed it in time, but it's still pretty cool.
5) I'm playing fast and loose with the definition of "cross-rhythm" here, but whatever, it's my video, I can use words however I want.
6) Apologies for the bass tone, I couldn't find a stem so I had to isolate it myself. That means I'm stuck with whatever frequencies made it into the final track, which tends to be heavier on the low end than what was actually recorded. I did my best, but it's not perfect. (That's also why the bass tone changes between clips: More of the high end gets cut out when there's vocals.)
Idk if you know about it, but demucs, I've found, is the best for DIY stems these days.
When you said “drums by Omar Hakim”, that was all you needed to say. He’s got the chops to play anything (when you’ve been hired by both Sting and Peter Gabriel, you know your stuff), but this song doesn’t need complexity. Serve the song.
For a more flashy showcase of Omar Hakim's drumming, Giorgio by Moroder (which is also off of Random Access Memories) features a fantastic drum solo!
The clap not being in perfect rhythm might also be imitating a realistic clap from the audience, that often isn't metronome-accurate
7) Most of the gummy bears missed the page on the end card lol
I think it’s impossible, or at least incomplete, to analyze Get Lucky without looking at it in the context of the full album.
Get Lucky plays right after Touch, an incredibly complex and earnest song about deep human connections that has a somber, almost tragic ending. Immediately, it then hard cuts to Get Lucky, a simple, groovy dance tune about sex and partying and not much else. (Which is not a bad thing; this song is still a banger).
Because of this sharp contrast, I’ve always felt that Get Lucky is meant to be satirical. Touch is an emotional roller coaster that makes Get Lucky seem incredibly shallow by comparison, which I think functions as a statement on the importance of deeper human connections. But Get Lucky is a simple groovy dance tune, so it’s only natural that that’s the one that exploded in popularity. ¯\_(ツ)_/¯
Also, the final moments of Touch bring in Rodgers on guitar. This almost sets up the transition to Get Lucky. It's a subtle thing, but it works so well. The whole album is really a masterclass in production. So many little details. I swear Daft Punk played the long game with their albums. Alive 2007 is basically a demonstration that they wrote songs to work in combinable pairs, but each song in each pair may have come from a different album.
Funnily enough, I actually drew the exact opposite conclusion from juxtaposing those two songs, at least for Get Lucky. Yes, Touch is earnest and about human connection and ends sadly, as if the "protagonist" of the song was in a relationship that didn't work out. But with that in mind, Get Lucky feels to me like the "protagonist" picking themselves up, putting themselves out there, and finding someone new - hence the opening lyrics of "Like the legend of the phoenix / All ends with beginnings". And I do feel like there's some genuine connection in Get Lucky as well, for instance in the refrain. It starts with two people wanting different things - "She's up all night till the sun, I'm up all night to get some, she's up all night for good fun, I'm up all night to get lucky" - and ends up with their desires aligning - "We're up all night till the sun, we're up all night to get some" and so on.
In short, I don't think Touch makes Get Lucky feel hollow - on the contrary, I think Touch elevates Get Lucky to be about not only sex and partying, but also about finding a new connection after the old one didn't work out.
But all that being said, I do agree that it's important to analyze Get Lucky within the context of the album, or at least as the follow-up to "Touch", which is a frankly gorgeous song.
I kind of agree with you. I think get lucky and loose yourself to dance we're meant to be groovy and dance songs. Touch, within and beyond are more introspective songs, emotional and thoughtful. They balanced really well the songs and meanings in the album.
Its like they made an homage to all their work so far, mixing everything they've learned and were inspired from (like giorgio moroder and paul williams feats)
Also the fact that beyond immediately follows get lucky, bringing back a more meaningful/introspective tone.
I'm really fond of Nile Rodgers' go-to story on the topic of "shallow" songs...
Basically a music teacher of his made the case that some bit of pop music, while trite and structurally simplistic, should be regarded as a "great composition" because it had succeeded in connecting with and emotionally moving a lot of people. The story concludes with Rodgers in Chic making songs about dancing and clapping your hands.
Along those lines, I'm not sure I'd share your view of Get Lucky.
I'm up all night for 12tone!
I'm up all night to get 12toned!
As a bass player, I'd say it's pretty much spot on that going un-syncopated is to leave room. It's "hiding" within the drum beat, letting go of the rhythmic tension and acting solely as support.
I'm not a bassist and I think that too.
I could barely pay attention to the analysis because every time you played a bit of the song I was taken over by the groove. Really appreciated you taking apart this great song, I've gained a new appreciation for it! I'm probably the younger new audience that this song reached - I definitely knew who Daft Punk was before this but this song is the one of theirs I heard the most.
I’d love to see a video dissecting the vocals of Harder Better Faster Stronger breaking it down the same way you would analyze a solo in Jazz
The problem is that there's no standalone instrument tracks for almost every song in Discovery, since there's so many samples
@@CoingamerFL yeah, but you can find the acapella and instrumentals. If you're mainly analyzing the vocals I don't see why you'd need the instrumental split by stems
i never really noticed, but the beat section of "Get Lucky" sounds incredibly similar (to me, at least) to the beat of "Bounce, Rock, Skate, Roll", notoriously sampled by Daft Punk in their breakout single "Da Funk" (and also "Daftendirekt" and "WDPK 83.7", off of Homework). reminds me of what Bangalter said, about Random Access Memories being both a love letter to the disco and funk that inspired the duo and a hope that future electronic artists, breaking the mold in their own ways, would be inspired by and sample from RAM as they did from their Superhero(es).
Perfect comment
"...taking the world by storm one more time."
No, that's a different Daft Punk song. 😁
*Just to celebraAaAte*
pee issstorr dintheball sintheballs
pee issstorr dintheball sintheballs
Glad I'm not the only one who caught the reference, lol
interesting analysis. to me it kind of sounds like a delayed ii - V in the key of A. the fact that the chord progression never actually goes "home" helps maintain that forward sense of momentum. this also helps the verse's emphasis on the minor tonic (F#) and the chorus's emphasis on the major tonic (A) make more sense in my mind
It’s B dorian? 🤷♂️
Yes, I agree, I also read this as B Dorian. Makes also more sense when we look at the melody
Can I just freak about how good that Discord doodle was???
I just noticed it! 20% Cooler!
Amazing work in analyzing the music. Can't believe you drew all those animations on top of the musical breakdown. Props for all the work you put into it!
What jumped out to me:
- on the key. In terms of relationship of the key to the chords in the loop, I was reminded of Marvin Gaye's "Sexual Healing" - both have a four-chord loop (the "Axis" chords in Sexual Healing), and both are sung in the key of the third chord in the loop. I feel this kind of thing, where the strong chord is in the third bar, as an almost backbeat-like thing in its effect. You've got the stress from the metric form landing on bar 1, with a non-tonic chord - we get some tension from that, then the harmonic tension gets resolved in bar 3, but not the metric tension, which is midway through building. Taking these two pieces apart from each other makes for a loop that naturally turns over, rather than coming to a firm resolution every turn.
- on the bass part. To me, the first few bars *are* the part - it's real simple, it sets up the expectations. Once the intro's done, there's no reason to come back and play it unornamented again. The rest of the piece is a variation on that simple pattern.
That’s a great way of explaining what I’ve been feeling. Your phrase “naturally turns over” made me think of a wheel with two smaller weights on it, instead of just one big one.
I know you don't like to discuss lyrics, but I feel you're missing something big with the chord center/key discussion: this song is about the singer going out looking for sex. Not having sex, looking for sex; being out all night to get lucky, not being out all night getting lucky. The fact the singer strikes out and lands around the key center but never arrives at Bm (with the exception of the very near miss at the end of the chorus where he swerves to land at A) is note painting a map of this guy's hunt for sex running into dead ends all throughout the song. He never releases the sexual tension he's feeling, so the singer never fully releases the musical tension we're feeling.
I disagree. It's not about sex. It's literally about how Daft Punk feels like theres artists as good or better than them, but we're overlooked. Daft Punk just got lucky.
ok freud
@@doomstar2040 eh could go both ways
This is the only song I've ever heard played back to back on the radio.
Your videos always go over my head, and that's okay. I watch them to get a sense of how many things are going on in a piece of music, which to me sounds like a single Gestalt. The main thing I take away from your videos is a sense of awe at the interplay between musicians. I would love to know to what degree that interplay is planned and to what degree it is intuitive and how that varies between musicians.
P.S. Maybe my hearing is messed up. I had a choice between blasting your narration or not hearing the bass.
Personally I hear music in two parts: the timbre and the melody. Instrumentation is a function of timbre, and chords inform the melody. But I’m an ambient musician so not much is happening at any one moment in my songs.
i love your channel and after the spoken word video you are definetely invited to the cookout but man did you have me laughing at the "styles based off african american dance music," part
But it’s true…so how is that funny?
I love all your videos, but this one is outstanding even for your channel. Thanks so much for doing all of this!
Goddamn, I had no idea how intricate everything in music can be. Wow!
If you asked me to analyze this song.... 'this is a great song' THE end!
I'd say the progression is more similar to the plagal cascade rather than the doo-wop changes, it's exactly the same but replacing A with it's relative minor F#-
'The song evolves' *draws Charizard* genius 😂😂😂
This is the first vid of yours I’ve seen and I’m really enjoying it. Got a sub from me! Keep it up!
It made me happy to hear a song by a boleved band of mine in the office, at the gym, on tv, etc. after so many years.
Gonna die on the hill of Bm for this one, but that may be my vocals-secondary approach to music. With this genre though, the downbeat is so defining it's hard to ignore as far as musical intent goes.
I would love to see a video on Tally Hall's Ruler of Everything and it's sudden breakout due to social media, despite it having existed for a while prior to its sudden spike in popularity.
My high school marching band marched get lucky in a parade last year. I still think it's and awesome song and it was a lot of fun to perform. Great video!
We don't need those complications, common! It's just B Dorian, there's no fight between Bm and F#m. We just have a habit to stick to aeolian sound, so sometimes it sounds kinda F#m for us, but it's ordinary I - iii - v - IV movement
I love this song and Daft Punk, thanks for sharing your own awesome perspective on their work :)
Feel good hit of the summer
Regarding the key: I play this song in B Dorian and think of it as modal.
That Andalite head caught me off guard, not gonna lie.
It would be great if you did a video about Entre Dos Aguas, by Paco de Lucía. Definitely would make for an interesting video.
Nice animorphs reference at 12:52
Why am I watching a video about the rhythms in a song I have never listened to when I know basically nothing about music and need to go to bed
An Animorphs reference? Man, you're right, I am old
Holy cow! This guy is an amazing artist!! That drawing of Pinocchio isn’t just good, it’s photo realistic!!!! 😲👍🥇
I know right!
some of you may notice that the first demonstrated Doo-Wop change, B, G#min, E, F#, has a pedal point
Hi I’m new here and I’m really enjoying your musical analysis. Ever heard Cardiacs? Sadly they’re now defunct due to the untimely passing of Dr Tim Smith. I strongly recommend you check them out. Cheers for the great work.
I hear the harmony specifically the Guitar as the main key of the song. To me Pharrell seems to be playing around with that key in a lower/warmer register to 1. Keep the song feeling light and fun. 2. Experiment with different notes and chods.
I would say the key of the song is B dorian. B is the root, but it uses the notes from A major/F# minor
Why you gotta talk about the sound of the summer right as we're getting to fall :(
Holding the Sharpie like a caveman holding a stick put me off
And there was me, thinking, 'dude, it's just a great song. What else is there to say? '...
@12tone: How do you isolate instruments for your analysis? Are you doing an EQ sweep and finding sections where the instrument is primarily located? Or is it AI or another tool?
Thanks for the video , great work. Omar Hakim - i know him from sting, didn’t know he played here. The groove reminds me a bit of billy Jean. As to the key, I dont think there is one right answer, but the chords circling around the Bm chord and the scale being that of A / F#m, for me I stick stick with B as root, making this a B Dorian. Much like for example Chris isaaks wicked game.
Your description of the one downbeat being so important to fuck reminds of something I watched or read where the Funkadelic guys were telling Bootsy he can play all the crazy shit he wanted just… make sure…
YOU HIT THE ONE
edit **
LOL clearly I commented this before finishing the video ;)
Isn’t Rodgers playing in B Dorian? The chords are Bm, D, F#m and E. In Dorian that’s i bIII v IV.
It would appear the success of Random Access Memories was very intentional, they didn't just Get Lucky.
14:09 “Significant gaps between Pharre-ses.”
Sound of the summer.
Daft Punk was busy making a movie and an amazing soundscape for another movie.
Was that a pun at the end? "One more time"
Both the harmony and melody often hit a G#, which would make the key B dorian if B was the center. To me it's always felt like it was pretty unequivocally in F#m.
At roughly 12:50 are you drawing something from Animorphs?
i noticed that too! looks like an andalite
You're confusing the terms "root", "key", and leaving out an important one, "mode".
The root is B (because thats the "home" chord, or the chord that is being tonicized), the key is F#m (because we have 3 sharps), and this means the song using the Dorian Mode (B Dorian) in the key of F#m.
It actually makes a lot of sense that the song would use Dorian. Having the minor 3rd and major 6th intervals gives us an opportunity in the melody to take the listener from a very bright sound (M6), to a much darker one (the m3). I actually LOVE dorian for this reason.
16:11 you can hear the finger snaps in this track
12-tone, just a reccomendation, awesome video, but maybe use mvsep for separation and use Demucs3?
0:55 "The place where every good groove starts..." the bass! 9:30 Talks about the bass, after spending 5 minutes on the most basic drum part ever, among other things.
For me, the moto interesting thing about this song is that is one of a few that can build verse,, prechorus and chorus , manage that tension and release without changing the chords....not so many songs can achieve that simplicity
Not changing the chords is very common in modern pop
Requesting Deep Stone Crypt Lullaby from Destiny 2 OST for an analysis.
Actually, this is a solid list to understand what is house music, from Sillicone Soul to Black Legend, with Gadjo, Phats & Small, Modjo, Stardust & Shapeshifers.
From the core to electro house, hip house, progressive [house] and although I don't like the term, afro house.
This is House --> ua-cam.com/play/PLgyvcAoYcg6tWTgAaW-01ShB7YAnPdZQ2.html
Where can you get isolated tracks??
Finally, I think you miss something with the analysis of the tail notes. All of the E's fall to D. So it feels more like a IV chord in that respect compared to the A being I.
I’d love to see a 12tone video on dream sweet in sea major
will you ever do any of Tame impala's songs?
I didn't much like this song before because of the repetitivity of its structure (to me the beat wasn't strong enough to hold the song for 4 minutes without a B section, let alone 6), but while I still won't listen to it every day, I can appreciate its qualities more now and if I happen across it I'll hold on to those and manage to enjoy it without having to sing the pre-chorus of Nothing More's "Don't Stop" on top of it to make it bearable.
i interpret this progression as a ii-IV-vi-V, all of the notes of all parts fall into an A major scale and there is no C#7 resolving to F#min, so my ears just default it into an unresolved A major tonality lol
I don’t see enough comments about Nile Rogers’ influence ;)
RANDOM ACCESS MEMORIES GOES SO HARD
everything after homework was just a commercial sales exercise. go back to roule records and check that stuff out and youll get a bigger picture.
About the key signature thing - i don't understand the ambiguity... the chord loop clearly doesn't start on the tonic to my ears. Bar 3 is the i, and that's the chord the song wants to resolve on after the final E if it didn't fade out. It's simply in F# minor.
idk I really feel like you called this analysis in; it's fair and not every video you make has to be a home run, it's just a shame it had to be the analysis of a song this important and good
12 tone knows absolutely nothing about music theory, please don't use him as an educational tool or a source. His analysis is completely incorrect, it's a very simple bII, IV, vi, V progression in A major, and then in the B section shortly it's a bVI, I, iii, V/V in D major.
It's interesting how you start the key analysis by saying it's obviously in Bm - I've never seen it that way. To me it feels more like the chord loop starts on the v (Bm), and then the bVII (E) at the end of the loop could theoretically resolve back to the i (F#m), but this would dissolve all tension and completely kill the steady momentum of the song. So rather than resolving, it immediately returns to the v instead in order to maintain this feeling of never quite resolving. Kind of like an eternal iii-IV-ii-V without ever resolving to the I, or the Axis progression where the IV-I is substituted with the iii-IV.
You probably already considered this while making the video, but I still wanted to share my perspective, because listening to the song as a teen when it was released, it expanded my horizons about what a '4 chord song' could be.
This, F#m feels like home to me
Yeah, exactly. Bar 3 is the only one that feels like the harmony has arrived somewhere stable. The progression simply doesn't start on the tonic - it's easily in F# minor to me.
Given their anonymity, it might have been interesting for Daft Punk to, instead of breaking up, quietly find replacements to wear those iconic helmets and turn into the Dread Pirate Roberts of music.
Did you just use an Andalite face for "form"?!
Sounds like the tonality is E to me anyway. The f# and a that Pharell ends his verse phrases on sound like suspensions over the E chord.
@8:48 Oh My Jebus dude it's B dorian. Yea, sure.... real _common_ key [or is it?]
Mode of the Key of A Major. Hmn... insert passive aggressive font here.
I was at a Christmas gathering where I started playing this and everyone joined in. I was surprised that they did, & when I was ready to be done doing it, they wanted to keep going. Explain that why don't you.
Analise around the world by daft punk
Could it be that the two keys are "getting lucky"?
I may be unfair to Daft Punk,, but I always had the impression that the song Get Lucky has very little to do with the talent and skills of Daft Punk, and almost everything to do with the musicians that are playing on the record. I'm not just saying that they just played their part really well, I'm saying that they made the song. Now I cannot prove it (and I didn't research), and I'd be happy to be proven wrong. It's one of the reason that I never really got behind the song, at the very least the musicians are an integral part of the song, and something feels a bit unauthentic to still praise Daft Punk as a duo (and creative force) when you hear a song like Get Lucky.
6:13 "it starts on the root" no, it starts on the II chord of A major. Again, listen to the melody before you analyse what key a song is in
I guess they Got Lucky
Naah daft punk were never ones for riding off nostalgia, i think you really misjudged them. They took the backlash from human after all and tried to blend it with othersongs with alive 2007 which everyone was amazed by, then they did the tron legacy soundtrack, combining orchestral moments with their electronjc style which again blew everyone who heard it away, they arent as known as their big hits but they were very beloved by the people who heard what they did after human after all.
Don't think Daft Punk needed to be saved in my opinion Discovery is probably one of the greatest albums ever to exist 🙃🥰
can you analyze bladee, you will be in for a suprise. his older stuff like eversince would be cool
I definitely hear the melody as Bm, not F#m. But your opinion is also valid!
You didn't point out that the point where Williams sings the longer notes is the "swell". The music swells.
didn't know this song was daft punk
Loved the breakdown and analysis of this song. Please if you could vreak down another Daft Punk song, "I Feel it Coming" by The Weeknd. Many people have mentioned its nostalgic sound and after listening to the instrumental a few times, there's actually a ton of subtle additions to the instrumentation that builds throughout the song.
It's super fascinating, please check it out if you can, thank you!!
I had a rather big fight with my best friend, my brother from another mother, back in 2019. We didn't have contact for over a year, until Daft Punk uploaded their epilogue on 21/02/2021, which I used to reach out by simply sharing the link. Two bros walking side by side, end of an era, etc.
Either way, he jumped onto the opportunity, and we started gradually healing our trust and friendship. Exactly one year later on the 21st, a mutual friend reached out to tell me that he had suddenly passed away. Not quite as explosive as in the epilogue video, but infinitely more abrupt.
The song used in their Epilogue was from the same album, Random Access Memories, which has helped me a tremendous amount with giving it all a place.
Sorry for your loss. What a heartbreaking story. It sounds like you’re already on top of it but focus on how nice it is to have remedied you and your friends division before his untimely passing. All the best brother
Sad but music brings healing in sometimes straightforward ways and sometimes mysterious ways. Hope you are on the road to peace now
"Touch" is the song if i'm not mistaken, one of the most powerful songs ever written in my opinion. Sorry for your loss.
i - III - v - IV is the "Get Lucky" progression for me. 2013 was getting right around the time I stopped listening to the radio fairly often, but this song continues to stick around in my mind space because it's just that great. It feels so good to dance to, it's fun to sing, and even more fun to harmonize on the pre-choruses with friends. Long live this incredible song. (:
For me it's ii - IV - vi -V .
I always transpose to Ionian mode.
iv - bVI - i - bVII , if we treat the minor tonic as the I ...
@@jankremencz Exactly how I've always parsed this tune.
@@jankremencz I hear it as a i - III - v - IV dorian progression instead.
@@TheSummoner ew, you gotta use flats or it's just wrong, man, whoever came up with this system is weird.
If i-III is Bm-D, then what would you call Bm-D#? Bm-D is i-bIII, or even better, to avoid using unnecessary flats, vi-I.
2:00: “The high hat isn’t actually constant eighth notes. I lied to you.”
Me, having looked at the transcription: “Oh, I must have misheard him.”
I feel like the drums and bass on this album were so underappreciated because they were "simple" but they were MASTERFULLY executed. If you listen to when the drums and bass come in on Beyond, listen to how in-sync the kick is with the bass. Absolutely perfect
its just because the vocals are so memorable and niles guitar is so ridiculously funky, the drums and bass are why the others work but they arent standout because of it. Also you realise you can just... quantize the kick and the bass like they most likely did on beyond.
@@noahleach7690 it's tough to play "in the pocket" as tightly as on here. simplicity sometimes disguises complexity, and I agree that the rhythm section don't stand out but I personally still get the backbeat of get lucky stuck in my head sometimes
By 2013 it didn't seem like they were pretty much done, riding a wave of nostalgia, and waiting to become irrelevant, contrary to your intro. No, their work for the Tron Legacy soundtrack, a movie which came out in 2010, was pretty amazing, a unique and maybe innovative blend of electronic and symphonic instruments, and clearly took time to make. Feels like this was overlooked either on purpose to give a more dire and impactful intro, or by accident. If on purpose, it seems somewhat disengenuous to at least not mention? Unless you talk about it later in the video (but if so, it should have been in the intro part, imo)
I came and made a comment about this, but I'm glad others noticed, too. Daft Punk _also_ made their own movie in that time. But Tron Legacy's SOUND was phenomenal, and tragically you only truly got to experience it in IMAX theaters, which we're all 3D. If you didn't see it in 3D, you didn't see it, just because the audio mix on 2D sucked!
Before I moved out of my last place into this new one where I have neighbors, I watched the Blu-Ray at a truly antisocial volume. I've got 15s in my fronts and 8s in my rears, and that BASS is just suffusive!
Also Alive 2007 was a huge hit
100% on point ^^ ... this video is a really out of touch bad take. People have also never stopped remixing Daft Punk, some of the most prolific producers in the world did remixes of Daft Punk between 2010 and 2013, which definitely weren't pretty much done and waiting to become irrelevant.
If anything, Get Lucky really had the opposite effect and cooled down Daft Punk's hype a little bit. Sure, suburbanites might have discovered a newfound love for one single Daft Punk song but tbh Get Lucky made Daft Punk lose a lot of their indie hype / hipster appeal by having a little too much straightforward disco nostalgia and going boring radio mainstream.
100% agree
He needs to stick to theory cuz his takes on Daft Punk were terrible
As many people have said, dance music doesn’t work with keys. It works with loops.
Small nitpick: the effect Daft Punk uses for their vocals is a talkbox rather than a vocoder
@ghost mall Yes but in this song it's a talk box
@@satiric_ actually no this is a vocoder. Specifically the Digitech Talker. More often than not they do use a vocoder with the exception being on Around the World and one solo on Fragments of Time.
Extremely wrong they used a sennheiser vsm 201 on RAM at the least. Digitech talker for discovery, but something about us is a talkbox
@@Prefesuersheen the other part might be correct but there's no way Something About Us is a talkbox. It's way to breathy. Sounds like either a Harmonizer or even just auto tune and a filter
@@rct3isepic you’re right I was thinking of digital love, I get those two mixed up in my head all the time
Check it out if you get the chance. Sound of the summer.
I did not know the drums were by Omar Hakim. I first knew of him from Weather Report, where he replaced Peter Erskine, and he was truly amazing. I know the song is basically just four bars, but what a four bars!
A bit random, but when Get Lucky was popular, I didn't have a very good car stereo, and my kids (10, 8, and 5 at the time) thought they were saying "we're up on Mexican monkey." Sounds crazy, but whenever it comes on at work, I tell people about it and they can't unhear it. I don't know what "Mexican monkey" is, but it sounds like a good time.
"We'll rob a Mexican someday" is what i always heard until i actually read the lyrics
...”We’re up in Mexican Monkey” 100% sounds like a drug reference
This is what everybody were talking about when referring to that part, back when the song was new.. So does not sound crazy at all or special at all. And probably doesn't have anything to do with the stereo of your car, since most people had the same reference.
Him starting the bass out with a basic pattern sets up an expectation and when he goes into improvising for the rest of the song, it makes it feel “spicier” imo.
"Feels like they were just waiting to become irrelevant..."
The 10,000 times I listened to the Tron Legacy soundtrack between 2010 and the release of Random Access Memories begs to differ 😉
And all those tracks they produced for Kanye West? Totally irrelevant 😂😂😂
@@zerosozha and their collab with The Weekend recently
@@kalebaquinomileib8605 That was after Random Access Memories, though.
Not to mention how many tracks from that album were used in adverts, albeit Outlands was most common.