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Topic ClosedPink Floyd's "Fearless" - my analysis

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Direct Link To This Post Posted: December 30 2016 at 19:14
Originally posted by Finnforest Finnforest wrote:

Just played the song again and gotta admit (no pun) it does sound like "chiding" on Dave's original take.  I can hear a distinct "ch" sound at the beginning. 




And it also clearly sounds like David says "go down" instead of "no doubt" ... in your own way, too. 
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Direct Link To This Post Posted: December 30 2016 at 19:24
In any case Matt, thanks for sharing an interesting take that got me thinking of the song again.  I had a friend once quite like your dissident.  It didn't end well for him though.  No beating the state, no one cheering for revolution.  Just a lot of sadness and unfulfilled promise.  But, I will always respect that he spoke his mind, didn't compromise his ideals, and lived every minute of his life his way.  The friendship was both exhilaration and tragedy unfolding simultaneously.  He was a highlight in my life.  
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Direct Link To This Post Posted: December 30 2016 at 19:30
Originally posted by Finnforest Finnforest wrote:

In any case Matt, thanks for sharing an interesting take that got me thinking of the song again.  I had a friend once quite like your dissident.  It didn't end well for him though.  No beating the state, no one cheering for revolution.  Just a lot of sadness and unfulfilled promise.  But, I will always respect that he spoke his mind, didn't compromise his ideals, and lived every minute of his life his way.  The friendship was both exhilaration and tragedy unfolding simultaneously.  He was a highlight in my life.  

Thanks. 

Undoubtedly, the song is fundamentally an optimistic one, although I am sorry to hear about your friend. Sometimes I ponder about just how many dissidents have gone largely unnoticed, in all areas of the world. 
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Direct Link To This Post Posted: December 30 2016 at 20:40
I actually think there are quite a few such guys out there, like my buddy...someday I'd like to write about that time.
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Direct Link To This Post Posted: December 31 2016 at 04:55
Originally posted by The Dark Elf The Dark Elf wrote:

...

And as you rise above the fear-lines in his brow 
You look down, hearing the sound of the faces in the crowd. 

"fear-lines in his brow" refer to the worry lines on one's forehead (brow), most likely referring back to the fool who wears the crown.


Or afraid of what the audience might think.

Which I am sure, by that time, PF had seen plenty of, and this was soon to change, although a few years later hearing Roger's rants at Anaheim Stadium, I would think that ... he was still hearing their sound, and didn't like it!

FAME ... what a business!
Music is not just for listening ... it is for LIVING ... you got to feel it to know what's it about! Not being told!
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Direct Link To This Post Posted: January 01 2017 at 19:38
Nice analysis.  Of course, it is based on a particular reading of the lyrics.  With what you are working with, it makes a lot of sense.  And of course, if we change any of the lyrics, we change the meaning of the song.  We can only work with what we are given.  The lines about the idiot always reminded my of the Tao Te Ching, when Lao Tzu writes that everybody is learning something new each day, that only he forgets something each day.  The criticism there is that what all those people are learning is meaningless and that they do not understand what he the Taoist is actually doing.  Indeed, one has to follow the Tao in his(her) own way, and very few, if any can understand just what that is.  To get started, though, one must shed the crowd and climb the hill in one's own way in one's own time.
The world of sound is certainly capable of infinite variety and, were our sense developed, of infinite extensions. -- George Santayana, "The Sense of Beauty"
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Direct Link To This Post Posted: January 01 2017 at 20:44
Originally posted by Fearlessly Fearlessly wrote:

The song ends with a recorded chant from a football match where the crowd are singing You Will Never Walk Alone. This is a nice thematic conclusion to the song. While the dissident has become persecuted and sanctioned by the state, there appears to be this overwhelming support from the crowd. This suggests that the dissident perhaps engendered the start of a revolution or uprising. And his actions, those that were deemed idiotic, were indeed anything but. His sacrifice has a legacy, and it is precisely this legacy that will inspire others to incite radical and meaningful change.

I think they just want Liverpool to win.
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https://podcasts.progrock.com/post-avant-jazzcore-happy-hour/
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Direct Link To This Post Posted: January 02 2017 at 04:21
Hmm.  Interesting.

A few things to consider:
  1. The songwriter's words are usually transcribed by someone else:
    1. Internet lyrics are often wrong;
    2. Lyric sheet are often wrong;
    3. Sheet music is often wrong.
    4. Two things to remember are:
      1. "In the Garden of Eden baby..."
      2. "Mares eat oats and does eat oats but little lambs eat ivy"
  2. Singers don't always sing the 'right' words:
    1. Sometimes the written words won't scan so the singer changes them
      1. They'll substitute a different word;
      2. They'll blur two words together;
      3. They'll omit a syllable or two.
    2. Sometimes they simply forget the right word
    3. Sometimes they sing a line from a different verse
    4. Sometimes they can't remember the song at all
      1. They'll refresh their memories from the Internet, lyric sheets or sheet music [see 1.1-1.3 above];
      2. They'll make new stuff up instead;
      3. They'll take guess.
  3. Sometimes you just have to listen to recordings of the song and make up your own mind.
  4. Most songwriters are not literary geniuses.
  5. Most songwriters are not great poets.
  6. Most songwriters don't make perfect rhyming couplets but lean heavily on near or imperfect rhymes.
  7. Most songwriters are not deep thinkers or philosophers.
  8. Sometimes a pop song is just a pop song.
  9. If you look for a deeper meaning you'll find one.

SO...

Notice that the song starts in the first person singular in that it is written from the perspective of the singer, and the protagonist is in the second person (singular or plural - "things you said" ect.). This changes to the third person in the second verse ("the idiot" and "the magistrate") before concluding in the second person singular ("you rise above") with the protagonist being the first person singular ("his brow"). 

Writing anything in the second person is notoriously difficult in a narrative and is generally avoided but it is common in song lyrics as a means of connecting with the listener on some level. 

Listening to the song it does sound like Gilmour originally sang chidin', as does Waters in the later live recording. A chide is a rebuke or scolding so it fits with taunting mood the opening two lines.

'Mercilessly the magistrate' is probably the correct lyric to match 'Fearlessly the idiot' but it doesn't scan in the song so both Gilmour and Waters sing "Merciless the magistrate'. This isn't Ming the Merciless but simply a magistrate showing no mercy on the defendant in the dock.

Gilmour most certainly sings '[you] Go down in your own way'

It's definitely the fear lines in his brow where 'brow' is an imperfect rhyme, 'brown' makes no sense here and rhymes with the wrong line in the song ('crown') when it should be an imperfect rhyme with 'crowd'. Alternatively he sings 'frown' here but I think that is unlikely.

Note here that it is "fear ... in his brow" and not "...in your brow" so the tables have turned on the song's protagonist.

Pedro's notion that it has something to do with fame could have some merit given that this is a recurring theme in Waters' lyrics ('Cymbaline', 'Free Four', 'Welcome to the Machine', 'Have A Cigar', etc..) but in this instance I think it is not the case, especially given the Liverpool Kop singing 'You'll never walk alone' at the beginning and end of the song.

I simply see it as a song of optimism and nothing more.


Edited by Dean - January 02 2017 at 04:21
What?
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Direct Link To This Post Posted: January 02 2017 at 04:23
Sheet music is always wrong.
"Too often we enjoy the comfort of opinion without the discomfort of thought."   -- John F. Kennedy
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Direct Link To This Post Posted: January 02 2017 at 09:03
I'm just glad to see that someone finally brought attention to an awesome song...It's always been a favorite for me even the first time I heard it.  Of course it's all entertainment folks (thank you Devin Townsend)....but then so is this post since I found reading it to be highly entertaining.  The true meaning of the song is how it is interpreted into your own life and/or the life of the composer.
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Direct Link To This Post Posted: January 03 2017 at 14:28
One of the most surprising things to me about prog fans that I've encountered here since I started posting is the number of people who seem focused on lyrics.  I'm used to pop fans being focused on lyrics, singer-songwriter fans, hip-hop fans, etc., but I've always assumed that the vast majority of prog fans wouldn't really care about lyrics.
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Direct Link To This Post Posted: January 03 2017 at 20:39
I don't (generally) care about lyrics.
--
Frank Swarbrick
Belief is not Truth.
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Direct Link To This Post Posted: January 07 2017 at 14:21
Thanks for reminding me about this great song. I like it a lot. As to the meaning it may well be that you put more than there is to it. It is rather straightforward.
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Direct Link To This Post Posted: January 09 2017 at 03:43
I'm a musician and I also studied English at University.

Let me tell you a story.

Ted Hughes, a famous English poet, was asked by an exam board if one of his poems could be used in an exam paper. No problem, said Ted, no fee, just let me sit the exam.

So he sits the exam. The first question was "What is the poem all about ?"

"I don't know" wrote Ted. "Perhaps the poet was angry and frustrated and depressed when he wrote it, as it's all so dark and gloomy."

Back to University. There are all kinds of methods for critiquing prose and poetry. Guess what ? None of them are worth anything. What a poem means to you is not necessarily what it means to the person who wrote it.

May I also point out that music is for listening to and enjoying, not dissecting ?

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Direct Link To This Post Posted: January 14 2017 at 04:49
Originally posted by Davesax1965 Davesax1965 wrote:

May I also point out that music is for listening to and enjoying, not dissecting ?

What an authoritarian thing to say. 

Speak for yourself. 
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Direct Link To This Post Posted: January 14 2017 at 05:26
"There are all kinds of methods for critiquing prose and poetry. "

Also for critiquing music . 

Whenever I hear to prose, poetry and music I can find beauty both on their meaning and their sounds. Nonetheless, when hearing music, the beauty and feeling of the sounds played will always be my preference over whatever it can mean. Well, what the heck is the essence of music if not that?


Edited by Tillerman88 - January 14 2017 at 05:27
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Direct Link To This Post Posted: February 19 2017 at 16:15
Songs, like paintings, bear analysis and it is good to see an example here, although I am not sure I agree with all of your observations.

I remember when Meddle was released and assumed that the Rodgers and Hammerstein chant, from the terraces, was thrown into the song because Pink Floyd were football fans. The group were often publicised  at the time for playing football. Some of Floyd's use of sound effects/ voices seem random, like the studio visitors reading from cards for the spoken snippets on Dark Side (albeit later).

There is some analysis of Fearless on the football blogs. One of the most convincing comments I have seen is the following, which assumes that Waters is an Arsenal supporter, '... 1971 (the year the album Meddle was released), Arsenal had won the double. They played LFC in the FA Cup Final and after the game won much respect from Liverpool fans. The song may even be a nod of respect to a great match.'

Here is the link, although much of the assumptions about Waters' politics are improbable: http://www.worldsoccer.com/blogs/liverpool-fc-the-pink-floyd-connection-333543
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Direct Link To This Post Posted: March 06 2017 at 04:10
Well I'm late to the party but this looks fun...!
Side note on (over-)analysis: why not dissect, if dissecting makes you happy? There are some songs I want to eat whole like a lychee, reclining eyes closed in just a loincloth, and others whose innards I want to scoop out all over the floor like a pomegranate that the dog got to, and analyse to death and look at from every angle.
 
So Fearless. I guess the feeling I get from the song is kind of similar to the OP's, although less far (I hadn't thought about dissidents) and more vague.
 
Before I ever thought about the meaning of the song, it felt like a sort of cocoon, like a formative, confidence-building song from father to daughter (the gentle vocals and easy, comfortable chords make me think of Kooks by Bowie too). The easy, simple "climbing" guitar refrain also makes me think of a kid taking a few steps and then falling on its ass before getting up and going for it again without wasting any time worrying.
 
That same idea then extends further into the song and into adult life: it's not worth stressing about failure or what people think, just be quietly confident and you'll get by just fine on your own terms.
 
I think it also visits the old difference between book-smart and world-smart (compare the musical simplicity I mentioned before with the "row row row your boat" penny whistle section of The Fool on the Hill), what with the idiot who does his ting and lives happy, and the authority/crown who's book-smart, presumably, but has missed the point of life. Bearing in mind that "idiot", which now just means "an outrageous dumdum", used to mean something more like "commoner/layperson who gets on with his own stuff and doesn't trouble himself with the affairs of the city".
 
I always associate the bit about the magistrate and the crowd with a few images from stuff like The Stranger by Camus (on the theme of acting or reacting the way you're "supposed to" vs. following your own nature) and The Trial by Kafka (on the theme of being persecuted by wait who why where am I?!). It's pretty comforting to replace the unease of books like that with the simplistic "ploddy ploddy forward" confidence of a song like Fearless.
Stop me from dreaming?
Okay :-(
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Direct Link To This Post Posted: March 17 2017 at 08:40
Thanks for sharing your analysis.  I enjoyed it.

My take it is two views of the same metaphorical event or process.

First verse, from the protagonist.

Second verse, from an observer.

But generally I agree with your conclusions that it represents confident victory in the face of of outside fear. Hence the title.  ;)
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