Loomis,
As per usual, I don't really disagree with anything that you've written, with one slightly different take on how a given songwriter might integrate a solo into a given song.
The solo in SFP is an example of what I meant by "playing in service to the song"'. I completely agree that it's not the most inventive thing you'll ever hear, but - IMO - sometimes the highest purpose of a guitar solo is to re-state the melody in a way that reveals a different side to it. It's almost a different art form than soloing for the sake of a unique statement in, and of, itself. In this case, I think Tillbrook 100% made the "right" decision (with the caveat, of course, that there are an infinite number of right decisions) in keeping the solo within the four corners of the melody. The song is so strong that stepping outside those constraints risks breaking the spell. As always, YMMV - particularly if you're not as enthralled with the song as I am.
I will note one beautiful structural element to the solo. Both melodically and rhythmically, it sets up the walk down which transitions to the middle eight. In my view, that's brilliant song-craft. It's a very clever solution to the always present problem of segueing to a completely new segment of a song. The middle eight (as usual) only appears once in SFP and it's quite different in feel from both the chorus and the verse, yet the solo flows seamlessly into that passage. Again, it's another way in which that solo is in service to the song.
SFP probably more powerfully resonates for me because, despite persistent efforts to improve myself in this regard, I remain a fundamentally cynical soul. I've been to too many funerals and have never found much comfort in anyone's attempt to celebrate the life of the person that has died. That sentiment just never works for me....except in that song. The lyric strikes me as completely genuine, completely heartfelt, and astonishingly joyous in the face of great sadness. Like I said, that particular formula resides as much in this listener as it does in that song. Although, interestingly, when I asked Tillbrook (Difford wasn't really participating in this game) to choose the one he was proudest of, he chose SFP. So, I guess he may share my own issues around the subject of death, hope, and faith. Who knows?
BTW, I must give you this: Your choice of the descriptor "tragicomic" for Up The Junction was spot-on. I love the couplet:
"She left me when my drinking,
became a proper stinking"
You want to smile at the rhyme (and the oh-so-British use of the modifier "proper"), but the narrator has just lost his family to alcohol. It really is that rarity - a truly tragicomic moment.
As per usual, I don't really disagree with anything that you've written, with one slightly different take on how a given songwriter might integrate a solo into a given song.
The solo in SFP is an example of what I meant by "playing in service to the song"'. I completely agree that it's not the most inventive thing you'll ever hear, but - IMO - sometimes the highest purpose of a guitar solo is to re-state the melody in a way that reveals a different side to it. It's almost a different art form than soloing for the sake of a unique statement in, and of, itself. In this case, I think Tillbrook 100% made the "right" decision (with the caveat, of course, that there are an infinite number of right decisions) in keeping the solo within the four corners of the melody. The song is so strong that stepping outside those constraints risks breaking the spell. As always, YMMV - particularly if you're not as enthralled with the song as I am.
I will note one beautiful structural element to the solo. Both melodically and rhythmically, it sets up the walk down which transitions to the middle eight. In my view, that's brilliant song-craft. It's a very clever solution to the always present problem of segueing to a completely new segment of a song. The middle eight (as usual) only appears once in SFP and it's quite different in feel from both the chorus and the verse, yet the solo flows seamlessly into that passage. Again, it's another way in which that solo is in service to the song.
SFP probably more powerfully resonates for me because, despite persistent efforts to improve myself in this regard, I remain a fundamentally cynical soul. I've been to too many funerals and have never found much comfort in anyone's attempt to celebrate the life of the person that has died. That sentiment just never works for me....except in that song. The lyric strikes me as completely genuine, completely heartfelt, and astonishingly joyous in the face of great sadness. Like I said, that particular formula resides as much in this listener as it does in that song. Although, interestingly, when I asked Tillbrook (Difford wasn't really participating in this game) to choose the one he was proudest of, he chose SFP. So, I guess he may share my own issues around the subject of death, hope, and faith. Who knows?
BTW, I must give you this: Your choice of the descriptor "tragicomic" for Up The Junction was spot-on. I love the couplet:
"She left me when my drinking,
became a proper stinking"
You want to smile at the rhyme (and the oh-so-British use of the modifier "proper"), but the narrator has just lost his family to alcohol. It really is that rarity - a truly tragicomic moment.