"Counting on You"

The last thing I noticed when I listened to Pool It! recently is in "Counting on You," specifically in the line "Knowing you care after all."  It's a bit ambiguous whether "after all" is used adverbially or not, but the "all" is sung with a melisma (C Bb), so if it's taken in a more straightforward manner, there's something of a musical sense of the entirety of that "all."

"Since You Went Away"

When I listened to Pool It! last week, I noticed an allusion in "Since You Went Away" (which I think I'd noticed before but forgotten about).  I'm not exactly sure how to format it, but the line "Could be the eagle finally has landed" refers to the Apollo 11 moon landing.  The lunar excursion module was named the Eagle, and Neil Armstrong radioed back to mission control that "The Eagle has landed."

When I transcribed a bit of the lyrics this morning in order to write this post, I realized something else:  "since you went away" in the line "Things are much better since you went away" could be temporal or causal.

"Midnight"

I was busy yester-day and forgot to write an-other post about Pool It!

Like "Don't Bring Me Down," "Midnight" also features melisma'd "down"s and "around"s.  "Down" in the line "Midnight, when it all comes down" is sung to the notes D C Bb, so although "when it all comes down" is used more metaphorically, there's a musical sense of that "down."  "Around" in the line "Only the brave, the fools are around" is sung to the notes C Eb D C D, musically giving a sense of either breadth or merely presence.

"Don't Bring Me Down"

Twice in "Don't Bring Me Down," there's a melisma'd "around" (C# C# B) to give either a sense of breadth ("Word gets around") or continued presence ("You're still around").  "Down" in the title line is sung with a descending melisma (G# F# E), musically giving a sense of the word's meaning.

"Every Step of the Way"

Near the end of "Every Step of the Way" (at ~2:26), there's a melisma'd "Go" in the backing vocals (Bb F Eb), musically giving a sense of movement.

"Gettin' In"

In "Gettin' In," "surrounding" in the line "My love's surrounding you" is sung with a melisma (A F# C# A), and that breadth (both in the number of pitches and in the interval [a sixth]) gives a musical sense of the "surrounding."

In the lines "Love you ev'rywhere / Take me with you when you fly" near the end, "ev'rywhere" and "fly" are sung with melismas - "ev'rywhere" (B A A B A F#) for a sense of breadth and "fly" (too many pitches to mention) for a sense of movement.

"(I'd Go the) Whole Wide World"

Yester-day I listened to Pool It! for the first time in about three years.  I don't think I've listened to it since I started this project, so I guess this is the start of my initial notes on the songs.

At the end of "(I'd Go the) Whole Wide World," some of the "world"s are sung with melismas (either B A G or D G), musically emphasizing that width.