shortcomings were addressed in the recording studio by adding a tremolo-infused Dano bass melodic interlude performed by Campbell, who had first made his reputation in the music industry as a session guitarist with the group of uncredited Los Angeles backing musicians known today as "The Wrecking Crew", many of whom played on the recording. One of them, bassist Carol Kaye, contributed the descending six-note intro. A second six-note bass lick improvised by Kaye was copied for strings by De Lory and used as a fill between the two rhyming couplets of each verse. All the orchestral arrangements are by De Lory, who evokes the phrase "singing in the wire" using high-pitched, ethereal violins to emulate the sonic vibrations commonly induced by wind blowing across small wires and conductors, making them whistle or whine like an aeolian harp. Similarly, he employs a repeating, monotonic 'Morse code' keyboard/flute motif to mimic the electronic sounds a lineman might hear through a telephone earpiece attached to a long stretch of 'raw' telephone or telegraph line; that is, without typical line equalization and filtering ("I can hear you through the whine"). Webb was surprised to learn that Campbell had recorded the song: "A couple of weeks later I ran into [Campbell] somewhere and I said, 'I guess you guys didn't like the song'. 'Oh, we cut that,' he said. 'It wasn't done! I was just humming the last bit!'. 'Well, it's done now!'" After listening to the test acetates of the studio recording that Campbell had with him, Webb contributed the overdub of evocative, reverberating electronic notes and open chords heard in the intro and fadeout, respectively, of the finished track, played on his Gulbransen electric organ. Structure The song contains two verses, each divided into two parts. The first part is in the key of F major, while the second is written in D major. D represents the relative minor key to F, so a D minor (as opposed to major) section would be expected. The fact that it is nevertheless set in D major is argued to contribute to the unique and appealing character of the song. The lyrics follow the key dichotomy, with the first part of each verse (F major) handling issues related to a lineman's job (e.g. "searchin' in the sun for another overload", "if it snows, that stretch down south won't ever stand the strain"), whereas the second part