The Stats are Up

Following on from Steve's detailed and informative "set list history" I have had time to pass the data through one of the largest analytical systems in the western hemisphere with the hope that we may get some further insight. You will agree that the results (below) are illuminating and should form the basis of further debate, planning and strategy. The charts can be clicked on and enlarged for the hard of seeing.

First up is "themes". These have been collated via a complex algorithm based on statistical enumeration of mood, message, market factors, prevailing wind direction, aggressive/passive gap analysis and emotional-psychometric scoring. The themes are classed as:
Go For It - those themes that compel the listener to act (examples include "Go on man, just play that funky music" or "Here's an idea, why not take those skinheads off to the mega bowl?")
Comment - themes based on a comment of some sort. (examples include "what a perfect day it is today" or "do you find Peace and Love and Understanding amusing?")
First Person - themes based on the first person. (examples include "Today I feel quite good about myself" or "my nickname is Mr Space Cowboy")
Third Person - As above but from the third person perspective. (examples include "She was too young to buy alcohol")
Unknown - Is reserved for intangible themes. (there are no tangible examples of this)

Next up is key signature - always a challenging one for any band, but particularly challenging for the "more mature band". Here the issues were easier to asses and the charting below is conclusive and informative.

The one outstanding caveat in the presented results is the fact that the author (who had difficulty recalling the key of a number of songs) may have introduced an error of between 50% and 76% within the data.

Key signature is only one part of the musicality of a live act - pace (with passion) is also required. A measure of pace was produced as a 6 slice model which was then biased to allow for "live performance adrenaline pace creep syndrome" as identified and recorded by Messrs Gibson, Pearl, Trace and Moog in their paper "playing quickly when shitting yourself - the impact of live performance on tempo" Cambridge Press 1972.

The categories are Snail, Slow, MOR (middle of the road), Rocking, Quick and Blinding. Note the even distribution of data in the chart below.

A final pass through the data using a complexity mapping parser produced the final piece of insight into the underlying appeal and construction of the Dad's repertoire. The complexity analysis looked at average fretboard travel, variance to baseline parameter, breaks against splits, vocal dynamic range, the number of words to recall and a 6 dimensional array of interaction surfaces. This analysis was further weighted against the number of different chords in each song.

The map shows a significant peaking at the 3-Chords per song and 6-Chords per song datum points. This analysis is presented for further discussion and classification however, some initial conclusions are apparent. The band should place more focus on the 12-bar blues played in E at a moderate pace.

Perhaps a 30 minute version of the Joker?