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"Welcome to the Edge" (Electric Rehearsal) - 4:43 (bootleg, The Medicine).

"Welcome to the Edge" (Acoustic Rehearsal) - 2:47 (bootleg, The Medicine).

"Palomino" (Edit)" - 3:30 (B-side to " Do You Believe in Shame?").

"I asked Simon and he says - "One of the beautiful girls I have known.

"Dear Katy, I love the song palomino and I was wondering what the inspiration for the song was?" It is said that at the height of his ‘blue period’, the great artist was asked (flippantly, one can only assume) "but what do you do when you run out of blue?" To which Picasso replied "why, I use red instead." Never lost for words, that one. The chorus lyric comes from a quote by Pablo Picasso which Daniel Abrahams one of our co-producers brought to light.

"Actually, the song Palomino was mostly John and my baby, but certainly Nick contributed to it.

Am I right? Do they have any comments about this song? Thanks, Austin" It sounds a lot like Arcadia to me-I have a strong suspicion it was written mostly by Messrs. "Hi Katy, I am writing to ask about "Palomino" from Big Thing. "Palomino" was previously known as " Welcome to the Edge" during album recording sessions and featured a completely different set of lyrics. The song title is not mentioned in the lyrics and the meaning behind it is unknown.

) But "The Chauffeur" off the same album has some interesting pitch-bendy effects as well.This is a dreamy, softly-sung ballad.

Not sure what the heck they were high on when they came up with the outro.

Similarly, when we switch back at the end of the chorus, we're going back from Bm to Dm, and here the transition between F♯ and F is even more pronounced, crunching a bit with the F♯m chord that closes out the chorus.

This means we're switching modes quite a bit, with the F in the verse harmony being replaced by an F♯.

The verse/chorus transition is a somewhat abrupt switch from Dm to Bm – the parallel minor to D.

This is characteristic of John Taylor's bass work throughout the album.

The bass is strangely slippery in this song – although most of the song is practically pentatonic, the bass does a lot of chromatic stepping through the changes.

This outlines a rather ambiguous suspended D chord that meshes perfectly with the harmony – the D and A of course go with Dm, the A links the Dm – F – B♭maj7 in the harmony together, and the G and D go with the following G.

The lead synth riff circles around a D, G, and A.

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