Here is the post from yesterday on Fiona Apple‘s Extraordinary Machine, versions BEM (bootleg) and OEM (official).
We’re comparing the Jon Brion-produced version and the Mike Elizondo-produced version of a couple songs, just to see what we can see. Today’s song actually changed names along the way.
On BEM, the song is called “Used to Love Him.” The production is reminiscent of a minor-key New Orleans stride piano number. It sounds sort of like a gamelan on there. The drums shuffle along; the combo of the gong-like percussion and the light drum sound creates an open feeling. The arrangement on this one sounds fairly simple, despite the occasional accusation that Brion can be too fussy and overproduce songs.
On OEM, where the song becomes “Tymps,” the initial percussion is programmed beats. At the one minute mark, a new instrument comes in. I was initially going to peg it as a hammer dulcimer, but it seems to be a Marxophone. At 1:49 comes a drum break, and then the arrangement shifts again. The percussion backing becomes a lot looser — much more complex instrumentation. According to the credits, the track includes Mellotron, Fuzz Clavinet, Clavinet, vibes, a Wurlitzer, Celeste, Optigan, tack piano, and Chamberlin (All very Brion-esque instruments, by the way…).
The length of the songs is pretty similar. The musical feelings are very different. Is the song improved in the new version? I’m not sure. It’s certainly different enough that the two versions are distinct. It’s hard for me to say which one I prefer. You take a listen and decide.
Fiona Apple – Used to Love Him
Fiona Apple – Tymps (The Sick in the Head Song) — BUY
One Response
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Ben Says:
I was initially horrified by the Elizondo take on “Tymps,” but now I really enjoy it. (I think the key to this whole thing is an interview Fiona gave in 2003. This was when she and Jon were wrapping up production on the album, right before it got shelved. Someone asked “What does the new album sound like?” She answered “Tom Waits meets Outkast.” I love OEM, but that sucker sounds nothing like that amalgam. Tom Waits? Sure. Outkast. No. If that’s the concept she had stuck in her head, I can see why she ditched the Brion sessions and went to Elizondo, especially when you listen to the new versions of “Tymps” and “Window.”)
And you’re dead on in pointing out that Elizondo is using the Brion musical arsenal, including the very Brionesque Marxophone. (Brion never actually used that on the OEM… The first time I heard “Tymps” and that marxophone bit starts my first thought was “Someone’s trying to out-Brion Brion.”)