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“ Imagine Nile Rodgers and David Bowie come out with a song called ‘Lucy Can’t Dance’? I was already accepting my Grammy“). Nothing baffled Rodgers more than the fate of “Lucy Can’t Dance” (“ a guaranteed number 1 record,” he later said. Now Rodgers, a long-established hitmaker, wanted to have another #1 album to his name, while Bowie wanted a stranger, jazz-influenced, club-oriented record. In 1982, Rodgers, trying to make a name for himself outside of disco, had wanted to make an art-rock record like Scary Monsters: it was Bowie who pushed for a more marketable sound. So the intentions of producer and singer had reversed.
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Compromising his songs, guessing at a sound that a mass audience would find palatable, had only gotten Bowie Tonight. He couldn’t make himself commit to a record that pretended the past 10 years hadn’t happened: he couldn’t make Star Wars 2. The problem was that a decade had passed since Let’s Dance, and Bowie had been through the crucible of the Never Let Me Down debacle and the Tin Machine years. Rodgers tried to use Iman, a friend of his, as an intermediary, but she backed her husband. Instead, Bowie seemingly wanted to make a private album on a platinum budget (“ This record is about my wedding,” he said, to which Rodgers replied: “ But David, no one cares about your wedding! Let’ s make a hit!“) and kept rejecting the guitar licks that Rodgers played him (“ maybe the licks I thought of stank…but I knew they couldn’t all suck!“). In a long, hilarious rant to David Buckley, Rodgers groused that his hands had been tied throughout the sessions, that Bowie was running away from making the radio-friendly smash that the world expected from a Rodgers/Bowie collaboration (“ Star Wars 2,” as Rodgers called it). While Nile Rodgers gamely talked up Black Tie White Noise during its release, he later said he’d been frustrated and disappointed with the record. I guess I’ve seen too much, because I don’t really find her provocative, either. But I would get behind it a lot more if I really felt anything for her music. There is an increase in harmonic rhythm during the chorus when the chord changes become faster.Do you accept–or disclaim–any credit for Madonna’s shape-shifting career? When repeated in line 2 with the word “slowly”, the melody has a crotchet rhythm. In verse 1 - line 1 - the word “river” has a quaver rhythm. There are also examples of rhythmic augmentation. McCartney plays off-beat chords - 2 nd and 4 th beat of the bar - on a Lowrey Organ in the chorus and dotted rhythms are heard throughout. For the chorus, the time signature changes to 4/4, which is a simple quadruple metre. The intro, verses and pre-chorus are written in 3/4 - a simple triple metre, which is unusual in popular music. However, there is a tempo change in the chorus, so a minim becomes equal to a crotchet. The song is played at a moderate tempo of around 124 crotchets per minute. Finishing on the dominant of A major gives an imperfect cadence and the music sounds unfinished. C2 means the chord of C with an added second, ie C, (D), E, G.