A “TAM, GDZIE NIE SIEGA WZROCK” (“FOLLOW ME”) – Pat Metheny and Anna Maria Jopek – Upojenie – precise meanspeed® music tempo

analysis comes from the downloaded version of the song from Apple®’s iTunes®.

bpm+scan-Follow+Me-Anna_Maria_Jopek+Pat Metheny-Tam, Gdzie Nie Siega Wzrock

Meanspeed®-Carlton Speed Summary
composer=Pat Metheny

bpm+scan-Follow+Me-Anna_Maria_Jopek+Pat Metheny

average velocity/arithmetic mean speed/mean fee music path=112 1/10 BPM
average beat=0.5352 seconds
vocal=Anna Maria Jopek

Upojenie - Follow Me - PAT METHENY & ANNA MARIA JOPEK - UPOJENIE

language of vocal=Polish
originally recorded by=Pat Metheny Group on the album IMAGINARY DAY
mood/emotional expression as would be anticipated by the meanspeed® music theory=lust/desire/visceral passion (see scale at sidebar)
key=G major
high interesting element of song=Pat’s use of harmonics

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Ian Andrew Carlton-Spencer
James Manningsan

Meanspeed® Music Open Education
June 25, 2010

All I need is a song that was popular in 1984.  Its composer and performer, JACK WAGNER of the BOLD AND THE BEAUTIFUL® of the fantastic CBS® television “daytime” drama, looks, sounds and behaves much as he did over 25 years ago.
In mean speed music’s conjecture, songs that are in the range of 63-69 bpm are songs of ritualistic romance which is traditionally sensual if not impliedly sexual.  Songs between 70-76 bpm are predictably calm, poised, disposed to kindness: in short, graceful and quietly confident.
This song grabbed my ear the first time I heard it, mainly because of the excellent songwriting in the hook, where Jack jumps an octave when he sings “need” in the chorus, as the bass line moves up a strong major third, from the tonic A to C#.  This is a move, as was shown, or heard  in the film OFFICER AND A GENTLEMAN as the theme by Jack Ni

All I Need - tempo map by the St. James Charter School

etchze used the same progression in D major, literally lifting one up from D to f# the g natural to A and back.
Upon measuring Jack’s song last night, I thought: this is going to be about 88 to 92.  I got hit with the BAD DAY by Daniel Powter Sounds faster than it is effect.  The two songs have tempos that are literally the same, and because of the happy sub-rhythms the song sounds quicker.  It sounds quicker to me anyway.
The point is, though, that taking either song’s lyrics *alone* one would have a really (seriously really) hard time figuring out the real mood behind the performer.  Yet the even 70 beats a minute in both song tells me, and is a product of a NATURAL OCCURRENCE – no  invention of mine!   I can even do long division and Cartesian graphs.  The speed spectrum as it occurs in nature is something that is there to be enjoyed (or not) to help you control your mindset and mental speed and, as all music, first: HAVE FUN!  When you know that All I Need is 70 – well, that’s kinda cool.  But when you realize that Let It Be, The Chairman’s VERY GOOD YEAR, and Elvis’ Can’t Help Falling In Love with You are literally the same speed, the power you will feel is limited only by YOUR imagination.  Find a speed you love, get into a zone: running, your swimming, walking, cooking, exercising with a lover in bed: the power’s is yours to take.  Apple® has at least 100-500 apps 99¢ or less that with a few taps will tell you basic and useful bpm.  Steve Jobs: he provides a fantastically excellent in use and pure genius: a bpm column which you not only self-control by pressing Control+I on a highlighted song and entering bpm in the information section.  The musicians: hate it.  Why?  It is like telling how Penn & teller do their illusions: many act like arrogant brats who wish they could copyright speed itself as, well, how DARE I find what they exposed in THEIR tempo.  Too bad.  These are mostly the old bands who never saw the Internet cutting into profits, in same cases, that have led to suicide.  Compact disc “box set” revenue was going to keep Foreigner and David Crosby rich forever.  As a musician, each song I present I morally demand myself to PURCHASE, as this song was purchased from iTunes® from Apple´® for 99¢, not a 1989 $25 cd of Jack’s “greatest hits” where, well, I love this song, his others I am just getting warmed up to.

All I Need - tempo map by the St. James Charter School 2

My point?  The business changes, and a great performer as that of a Ronn Moss or Jack Wagner of the *world”s most popular drama, by far are enhanced when one plans for the future.  With the 1970s Player BABY COME BACK and the song discussed, supra, these two men *planned* a life for beyond their “young and pretty” years. The irony: the music keeps them young, as they both look tremendous for their age, and high-definition television is another element of the business both artists rolled with.  Learn from Wagner.  Learn from Moss: when you hear that groove that inspires you, tap it into your iPhone, or write and ask me to feature it, and you can go anywhere you want.  Find your psyche speed, and the power is just something that must be experienced to feel, like drinking great coffee.

/Ian Andrew Schneider/
Meanspeed® Music with the
St. James Charter School of New Jersey
Kendall Park, New Jersey
December 23, 2009

“I’m just 5 minutes from America,
but you can’t get there from here”
- Kevin Costner & Modern West

Copyright © 2009. ALL RIGHTS RESERVED.

Happy Holidays to all at the B & B® + Y & R®!!!  Rock on CBS®, rock on.

Jim Croce - tempo mapping - Bad_Bad_Leroy_Brown - St. James Charter School 6

St. James-Spencer Summary

song title=Bad, Bad Leroy Brown

performer=Jim Croce

Jim Croce - tempo mapping - Bad_Bad_Leroy_Brown - St. James Charter School

composer=Jim Croce

arithmetic mean speed/average expected tempo=147 4/5 bpm

Jim Croce - tempo mapping - Bad_Bad_Leroy_Brown - St. James Charter School 5

average beat=~0.4095 seconds

file type=m4p

Jim Croce - tempo mapping - Bad_Bad_Leroy_Brown - St. James Charter School 2

bit rate=256 kbps

sample rate=44.100 Hz

Jim Croce - tempo mapping - Bad_Bad_Leroy_Brown - St. James Charter School 1

seller=iTunes® by Apple@

Jim Croce - tempo mapping - Bad_Bad_Leroy_Brown - St. James Charter School - 3D

software=Microsoft®, JoeSoft®

hardware=IBM®, Apple®

Jim Croce - tempo mapping - Bad_Bad_Leroy_Brown - St. James Charter School 5

measurement=Seiko®, Online Sports®

Jim Croce - tempo mapping - Bad_Bad_Leroy_Brown - St. James Charter School 5-2

measurements, synthesis and maps=/isesq/

Jim Croce - tempo mapping - Bad_Bad_Leroy_Brown - St. James Charter School - dark

/Ian Andrew Schneider/

St. James Charter School of New Jersey, a division of

Meanspeed® Music

December 21, 2009

–

“Bad, Bad Leroy Brown”
Single by Jim Croce
from the album ‘Life and Times’
B-side	A Good Time Man Like Me Ain’t Got No Business (Singin’ The Blues)
Released	April 1973
Format	45
Recorded	1972
Genre	Folk, Folk rock
Length	3:02
Label	ABC Records
Writer(s)	Jim Croce

“Bad, Bad Leroy Brown” is the title of a song written by American folk rock singer Jim Croce. Released as part of his 1973 album Life and Times, the song was a Number One pop hit for him, spending two weeks at the top of the Billboard Hot 100 in July 1973. Croce was nominated for two 1973 Grammy awards in the Pop Male Vocalist and Record of the Year categories for “Bad, Bad Leroy Brown”.^[1]

Song info

The song is about a man from the south side of Chicago who, due to his size and attitude, has a reputation as the “baddest man in the whole damn town.” One day, in a bar, he makes a pass at a pretty, married woman, whose husband proceeds to beat Leroy brutally in the ensuing brawl.

Croce tells a nearly identical story (tough guy who everybody fears is brutally beaten when he meets an even tougher guy) in his hit single “You Don’t Mess Around With Jim.”

Inspiration

His inspiration for the song was a friend he met in his brief time in the Army:

I met him at Fort Jackson, South Carolina. We were in lineman (telephone) school together. He stayed there about a week, and one evening he turned around and said he was really fed up and tired. He went AWOL, and then came back at the end of the month to get his pay check. They put handcuffs on him and took him away. Just to listen to him talk and see how ‘bad’ he was, I knew someday I was gonna write a song about him.^[2]

Croce explained the chorus reference to Leroy Brown being “meaner than a junkyard dog”:

Yeah, I spent about a year and a half driving those $29 cars, so I drove around a lot looking for a universal joint for a ’57 Chevy panel truck or a transmission for a ’51 Dodge. I got to know many junkyards well, and they all have those dogs in them. They all have either an axle tied around their necks or an old lawnmower to keep ‘em at least slowed down a bit, so you have a decent chance of getting away from them.^[2]

The song inspired Queen vocalist Freddie Mercury to write the song “Bring Back That Leroy Brown” for the band’s third album, Sheer Heart Attack, released a year after Croce died.

Chart history

“Bad, Bad Leroy Brown” was released in April 1973 and peaked at number one on the American charts three months later. It was still on the charts on September 20 when Croce died in a plane crash in Natchitoches, Louisiana. It also reached #19 on the Australian (Go-Set) Singles Chart in 1973.^[3]

Cover versions

Frank Sinatra recorded a cover version of the song, which reached number 83 on the pop charts. Country music artist Anthony Armstrong Jones released a cover on Epic Records in 1973, reaching #33 on the U.S. county charts with it.