The Analysis and Classification of "Rebubula"
by Alex Rosenfeld and Vin Dee
Time references are based on NO DOY version of "Rebubula."
First Movement (00:00 - 00:48):
More frequently referred to as the introduction, or perhaps even The Introduction, as many MOE. fans will argue that no other MOE.TUNE has nearly
such an extended yet elatingly familiar beginning. This section features Chuck coming in with the opening riff, playing a part that, at least always
for me, sets the ambience of the sea. Al soon follows on lead, playing an almost patriotic like prologue to the song. Often in concert, The
Introduction will feature extended improvisation centering around Chuck, sometimes including a talk-box solo. The Introduction especially tends to be
extended when "Rebubula" is being segued into from another song, which is frequently but not exclusively "Yodelittle." Keen listeners can usually pick
up The Introduction from the first notes out of Chuck's guitar. It should be noted that the entire song is in D Major and common time, or 4/4.
Second Movement (00:48 - 04:30):
This movement contains the most composed, verse-based section of the song.
It picks up with Al and Chuck falling into sweet harmony in their guitar parts. This guitar harmony, which reappears again later in the song, has two
sections, which can be referred to as Guitar Harmony #1 and Guitar Harmony #2. Guitar Harmony #1 states the theme and is very Allman-esque, also having
a striking similarity in its sound to the opening guitar harmony in the Ominous Seapod's "Leaving the Monopole." Guitar Harmony #2, which follows,
restates the theme in cut time while Rob breaks into the main bass line for the song. Following a brief two measure drum solo, Al and Chuck move into
their respective rhythm and lead guitar parts, after which Rob begins the vocals with the somewhat inspiring line, "Can't be bothered with the natural
fact." This starts off two verses, which are over D, leading into the epic chorus, accompanied by a D-C-G-C guitar part at the start of each measure.
The guitar parts fall into Guitar Harmony #2, leading into a third verse which this time is not paired with another verse and, instead, leads right
into the chorus. After the chorus, the guitar parts fall into Guitar Harmony #2 and then Guitar Harmony #1, thus concluding the second and most composed
movement of the song.
Third Movement (04:30 - 08:23):
This movement begins off with an extended Al guitar solo with Rob still playing the same bass part. This extended solo includes rhythmic strumming
and muting the string to the sixteenth-note, which are among the most notable characteristics of the song, until finally these stutterings fall back into
eight measures of guitar harmony. The remainder of this movement contains variations on the theme of this guitar harmony. The song first breaks into
double time, sounding very calm and oceanic. Rob drops his bass part and the song is
noticeably hushed. The song then breaks into quadruple time, omitting the drums entirely. Al and Chuck play their parts around each other
until the song is brought to almost complete silence. The drum part kicks in, Rob picks up the bass line, and Chuck breaks immediately into what is
perhaps the most renowned guitar solo of any MOE.TUNE. The tone on this guitar solo can be described as an overdriven Stratocaster bearing a slight
hint of sweetness amid the distortion. The solo lasts forty measures on the album version, but is often much longer than that in concert. This movement
ends the series of variations on the opening riff.
Fourth Movement (08:23 - 09:18):
Al and Chuck fall back into harmonious guitar parts, though after eight measures the drum part is changed up, which continues along with the guitar
harmony. This guitar harmony continues in rising fashion until the end of
the guitar harmony and this drum part mark the conclusion of the fourth movement.
Fifth Movement (09:18 - 11:27):
The beginning of this movement is characterized by a short and sweet eight measure guitar part by Chuck which I've heard described as "singing" or
"whistling." Al and Chuck begin singing "Down - Down - Down - Down - Down - Down" in the background and continue to do so after Rob begins the final
verse of the song, perhaps appropriately referred to as The East Coast Mama Tribute. After the verse ends, Rob picks up the "Down - Down - Down - Down -
Down - Down" vocals on his own, which, at its end, leads into Guitar Harmony #2. Al, Chuck, and Rob then pick up the chorus all together, which this time
lacks any backing on drums. Rob repeats the chorus a third higher, alone and with drum backing again, and brings in the song singing "I'll find my way
back to you" over and over on top of Guitar Harmony #2, finally ending it with "I'll find my way - Find my way back to you." When the band is segueing
out of "Rebubula" and into another song, Rob will often continue singing "I'll find my way back to you" until his vocals fade away into the entire
band jamming and morphing into whatever song follows.