"Our Sweet Love"

In the third verse of "Our Sweet Love," there are the lines "A precious love like this can flower / There's nothing in this world like our sweet love."  "Flower" at the end of the first line rhymes with "our," so that "sweet love" sort of stands by itself, and structurally, this mirrors the sense:  the "sweet love" has no rhyme and no complement because there is "nothing in this world like [it]."

"Deirdre"

A few years ago, I noted that in "Deirdre," the word "more" in the line "Well, we don't have to talk about much more" is sung with a melisma, musically giving a sense of the word's meaning.  At the time, I thought the song was a bit sharp, but now I think it's a bit flat and that the pitches there are F# G F# E.

Recently, I found a few more significant melismas.

"Bad" in the line "It wasn't so bad" is sung with a melisma (D A B), so while it's negated, there's a sense of degree (for that "so").  "Friends" in the line "You still have all your friends" is sung with the same melisma, but here it gives a sense of the entirety of that "all."  "Away" in the lines "What could I say / That you ran away" is sung with a similar melisma (D D A B), and here it gives a sense of movement or distance.

"Add Some Music to Your Day"

The rhyme scheme for the verses in "Add Some Music to Your Day" seems to be ABCCD, with the first two lines (AB) often forming something of a slant rhyme ("home" with "phone" and "heart" with "cars") and the last line (D) being some variation of the title phrase, linking the verses together.  In contrast to this, the section

Music

When you're alone

Is like a companion

For your lonely soul

is completely devoid of rhymes, and this lack of complements mirrors the singularity of being "alone."

In the line "There's blues, folk, and country, and rock like a rollin' stone," "stone" is sung with a melisma (B A B A G#), musically giving something of a sense of the movement of "rollin'."

"Slip on Through"

A couple months ago, I finally got Feel Flows: The Sunflower & Surf's Up Sessions - 1969-1971.  I've listened to it twice so far, and I noticed a handful of features to note, but for now, I'm sticking to the songs from the original albums.  I'd like to become more familiar with the extra tracks before I write about them.

In the chorus of "Slip on Through," the line "All my life" is sung to notes that span more than an octave.  "All" is sung to a B, and "my life" is sung to D notes an octave a part.  This span gives a musical sense of the entirety of "all."

Near the end of the song (at ~1:56), "life" is held at a single pitch for a measure and a half and then trails off with a descending melisma, and these features (the long note value and the extra pitches) also give a sense of the breadth of "all."

"Kokomo"

Last night, I figured out the chords for "Kokomo."  The song is in C major, but there's a D major chord at the end of the line "That's where ya wanna go to get away from it all."  The F# in the D major is an accidental, and so there's a musical sense of foreignness that matches the notion of "get[ting] away from it all."

I also noticed that "go" in the line "That's where we wanna go" is sung with a melisma (C G A), musically giving a sense of movement.