Moogin’ Out: 5 Songs That Exit in a Wave of Synth

This week's songs are from Osees, Mac Miller, Fred Wesley & the J.B.s, Kurt Vile, and Emerson Lake & Palmer

Last week touched on Jimmy Iovine’s belief that a quick burst of an intro is necessary to grab the listener’s attention. Huge riffs, a killer drum beat, or if you’ve got Robert Plant in your band, a screeching vocal will stay with you.

But sticking the landing in a memorable way can also leave a lasting impression: an extra burst of dopamine, or a desire to immediately star the track over again. One way to do that is to bring in a rhythm, melody, or instrument that wasn’t there for most of the song.

Here are 5 songs that bring in a synthesizer for a truly memorable closer.

“People always ask me, ‘What is psychedelic music?’ and I'm like, ‘Just if it sounds good to you while you're in a mood.’ It could be anything. It could be country music, for Christ's sake. It could be hip hop. It doesn't have to be psych rock with guitars.” - John Dwyer

Osees - “Earthling”

Osees — or Oh Sees, or Thee Oh Sees, or… you get the idea—are an evolving music project led by John Dwyer. The only constants across their prolific catalogue are a fierce commitment to DIY and an anarchic spirit. Dwyer has acted as a mentor to Ty Segall and King Gizzard & the Lizard Wizard in encouraging the pushing of sonic boundaries, committing to the idea, and just plain working your ass off. Whether guided by interest, inspiration, or maybe whatever equipment they’ve got lying around that works, this iteration of Osees is full of warped keyboards, muffled drums, and cartoonish singing. As goofy and fun as this track is, it doesn’t really achieve lift-off until the last minute when the Moog shows up and takes off.

Mac Miller - “Woods”

I don’t know if there is another artist I’ve underestimated more than Mac Miller. He hit my radar about the same time as Macklemore and Post Malone, so the brain lumped up the “Mopey White Rappers,” and filed them away in storage like the Arc of the Covenant. But I was quickly won over after hearing “Ladders,” and watching his Tiny Desk concert. He’s got a unique, slurry cadence, can turn a phrase, and brings the introspection of a singer-songwriter to jazz-inflected R&B and hip-hop. Here he’s working with producer/wizard Jon Brion on what would turn out to be a posthumous release. I’m kind of obsessed with the way this song is constructed and the effect it has. The vocal melody, beat, and bass line float along while synthesizers zip in and out. It creates a floating sensation, but with a momentum. The chorus is him questioning his actions and his ability to connect with a partner. When the synthesizer comes flooding into the mix; it sounds like something from the Blade Runner soundtrack. Because of its melancholy and how it rolls over the song like a fog, it leaves the listener feeling as if something is still unresolved, just like the singer. I cannot explain the leopard though.

Fred Wesley & the J.B.s - “Blow Your Head”

Trombonist Fred Wesley played with many of the greats (Ray Charles, Van Morrison, De La Soul), but none as formidable as James Brown. Brown was known for the tight grip he kept on his band. Even when working without him, they went by “the J.B.s”. The story goes that after recording “Blow Your Head,” they invited Brown to the session, thinking he might add vocals. Instead, it marked the first time he would see a Moog. He asked what it was and how it sounded. He then tinkered with it and said it should be on the track. As Wesley recalled, Brown proceeded to “put it on THE WHOLE TRACK.” So maybe you think it sounds a little out of place? Just know it’s there because James Brown said so. Brown’s Moog Liberation keytar is apparently now owned by Page McConnell of Phish.

“I’ve been doing it so long at this point that it’s just my personality. It’s not a stage act. It is totally zen. It’s like walking down the street.” - Kurt Vile, on his songwriting process

Kurt Vile - “Air Bud”

Wakin’ on a Pretty Daze is an album that lives up to its title. “Air Bud” is that rolling jam that arrives just like the pleasant rush that comes when the coffee hits. And I wrote that last sentence before I checked out the lyrics, which kind of hit the nail on the head. As the songs takes it’s time enjoying the aforementioned pretty day with nothing to do, a few strands of synth roll in and take over the track for the duration. This is about as polished and smooth-around-the-edges as Vile gets. To be clear, that is both a compliment to this track, and the rest of his work.

Emerson, Lake, and Palmer - “Lucky Man”

Let’s all do ourselves a favor and ignore the lyrics to this one. Bassist and songwriter Greg Lake apparently wrote it when he was 12. I’m still not sure I’d let him off the hook. It was included on the group’s eponymous debut album because the group was running out of material. It’s since turned into one of their standout songs. The recording work on this is really nice — guitars, drums, and the slightly eerie layers of the harmonies on the chorus. The Moog solo that wraps things up was apparently a first take for Keith Emerson.

Thanks for reading. Enjoy the listening.