ABSTRACT
This chapter emanates from a recent UK Arts and Humanities Research Council (AHRC) project whose explicit aim was the development of a hermeneutic strategy for the consideration of spatial location in popular song recordings. The academic community's general theoretic arsenal for the discussion of harmony, melody and rhythm, is internally coherent, and one aim of this article is to show how consideration of spatialization can be annexed to such a repertory. According to the packaging, the album's final song is 'Blue Piccadilly', a song with an even more extensive harmonic PATH than the first. An arpeggiating guitar adds textural density, and rhythmic motion, to the harmonic scheme, while the bass and kit are also present. 'Helicopter' begins with a very awkward-sounding piano riff, with odd tones off to the right, strange buzzes generally to the left, and an unsubtle kit groove which almost stutters. The opening piano chord of 'Kettle's on' is telling in its minor inflection.
