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Tuning: G C E A
[Verse 1]
BI hung a shingle 'Country Music for Hire' ENo fans, no singles 10 years later I'm tBired Now I've raF#cked my brain And I've loEoked all around But I cF#an't find a way To frEeshen my sound And now wF#ho do you caBll When you're doC#mwn to one mBusical diEme? EmFountains of Wayne HotlBine
[Dialogue Interlude 1] [Gerald]
BFountains of Wayne Hotline. Gerald speaking. How can I help you? [Robbie] BOh, yeah. Thanks. Uh, hello. Um, yeah, I'm a country singer in a
small Midwestern town. And I'm here in the studio today. Uh, let
Bme explain. We're working on a track. And uh we juhs, dih- dih- dih- just did a verse. It was kind of broken down. And at this point
I'm not sure where to take it. Where to go from here... [Gerald]
BSir, sir. Calm down. We can help you. We can help you. What you need to do now is employ the "radical dynamic shift"
[Robbie]
BThe, The radical... yes, uh, wha-, what do you mean by that? [Gerald] BYou know. Full band entry, fortissimo, while maintaining consistent
apparent volume on the vocal track [Robbie]
BOh. Oh! Yeah, yeah! That's a great idea! Thanks a lot. Thanks for your time [Gerald] BMy pleasure. We're always here
[Verse 2]
BIt's such a drag To face another filthy stage EBeating these 3 chords In an early middle aBge F#I'd be better off with E7 in hand An aF#nalog synth and an AEngry young band Then I could tF#urn my muddy wBater IC#mnto sweet MBexican wEine EmFountains of Wayne HotlBine
B [mute] — Slightly distorted melodic solo! — Check! [Musical Interlude] B B B B E E B B F# E F# E B C#m B E Em B [Dialogue Interlude 2] [Grant]
BHotline. Department of Bridges and Infrastructure. Grant speaking [Robbie] BOh yeah, hi there. I called a little while ago. I talked to a gentleman. I believe his name was Gerald. And, um, he...
[Grant]
BSir, we've got about seven Geralds here. You're talking to me now [Robbie] BYeah, of course, yeah. The point is I'm in the middle of the song,
we're about 3 minutes in, and I'm not sure where to take it from here. We've done a couple verses and its just kind of, um hit a, hit a wall [Grant]
BYeah. Yeah, well, Tell me about your textural variation and harmonic palette that you have going so far
[Robbie]
BOh of course. Well, um. Two 16-bar verses, the first one broken down, followed by a radical dynamic shift
[Grant]
BOh, THAT Gerald [Robbie] BA slightly distorted melodic guitar solo. And chordally, let's see,
a 1, a 5, a 4, with and without a sub-dominant 7, a 2, 2 minor, and briefly a 9th compound over the tonic [Grant]
BUh, well that 9th, is that telegraphed or just gratuitous coloration? [Robbie] BUm, a bit of both, actually
[Grant]
BOh, OK. Well let's hit the bridge, I'll tell you what you do. No new chords introduced. Get a split bar of 4 in there, and push the
one. and then we'll slather the holy hell out of the thing with a s
Bemi-ironic Beach Boys vocal pad. And then an asymmetrical back hand. There's your bridge
[Robbie]
BUh huh [Grant] BYep
[Robbie]
BIsn't that a lot of information to put in the... [Grant] BSir, I've been on this hotline for 15 years you're gonna havta trust me on this one
[Robbie]
BOK, OK. Thank you very much. I'll give it a try. Thank you [Grant] BYou got it, Chief
[Bridge]
C#mOh, yeBah ENow we're getting big and full C#mOh, yeBah ETry a wider interval C#mJust like this? BOh yeah C#mMore like: BOh yeah! ECheck me out: oooooooo, yeah!
[Verse 3]
F#I feel invincible and aEll dialed-in F#Kind of Long Island with some WEest Coast sin So let's cF#ut to the cBoda AC#mny old gBimmick is fEine Em [mute] Fountains of Wayne Hotline