Restless Heart | I’ll Still Be Loving You

“‘I’ll Still Be Loving You’ is “a gentle classic country ballad that transcends genre,” (Wide Open Country). “The public thought so, too — not only did the song go to No. 1 on the Hot Country Songs chart, but it also was a top 40 single on the Billboard Hot 100 chart. Larry Stewart, John Dittrich, Paul Gregg, Dave Innis, and Greg Jennings (Restless Heart) ended up with one of the greatest hits of their careers.

‘I’ll Still Be Loving You’ was released in January 1987 as the second single from the Wheels … It went to No. 1 on Hot Country Songs for one week and spent 25 weeks on the chart … The single crossed over to the Adult Contemporary chart and won the band recognition on the pop charts. It would be the only country song to have crossed over to the Billboard Hot 100 for five years running until Billy Ray Cyrus’ ‘Achy Breaky Heart’ rolled around in 1989.”

Starting in Ab major, the tune shifts up to Bb major for the chorus at 0:48, where the band’s trademark vocal blend truly blooms. The second verse returns to Ab major with the same upward shift for the second chorus. An instrumental verse, climbing all the way to F major and featuring acoustic guitar, hits at 2:34. Another chorus, returning back to Bb major, is the focus at 2:59, gradually fading into an outro. Lest we think these guys were in any way studio creations, check out the second video of a very intimate, very recent acoustic performance of the tune — including a minor instrumental harmonic disagreement at 2:34!

Johannes Brahms | Piano Concerto #1 in D Minor, Op. 15 (III: Rondo: Allegro non troppo)

“No fan of the Romantic ‘showpiece’ concerto with a soloist doing star turns in front of a back-up orchestra, Brahms produced what Ludwig Finscher called a ‘symphonic concerto’ with the orchestra an equal partner,” (Mercury Orchestra). “He wrote the concerto (1859) for himself; if the piano part is difficult and showy, it is because it demands the physical dexterity and strength that he possessed. The work is in three movements and uses a ‘classical’ orchestra with four prominent French horns—an instrument that would be a Brahms trademark in years to come.”

In the concerto’s third movement, Rondo: Allegro non troppo, “Brahms changes the mood entirely with a vigorous finale modeled on the rondo finale of Beethoven’s Piano Concerto No. 3, a work he knew well. The form is ABACABA, with A upbeat and heavily bubbling, B a flowing variant of A, and C a short forceful section turned loose by the horns. The last A section is thickly developed, complex, and includes a fugue in the strings … the two cadenzas have structural functions, the first leading to a key change, the second to a triumphant coda that includes some thrilling chord changes.”

The movement begins solidly in D minor, but by its end has shifted into its cadenza in D major via a meandering path. By the 10:30 mark, the orchestra gradually tapers to nothing as the piano is featured, only to dramatically re-appear for the very ending of the movement.

Counting Crows | Butterfly in Reverse

Counting Crows’ “excellent debut album August and Everything After, and its two studio follow-ups, earned the band a huge following across the globe,” (Drowned in Sound). “Bolstered by their energetic, uptempo live shows. While the previous effort This Desert Life was rendered patchy by an untamed, widening musical palette, Hard Candy (2002) is focused experimentation, full of catchy hooks and a complete right angle to their previous Americana-tinged efforts, despite taking in all sorts of influences. And I’m sure we can thank producer Steve Lillywhite (U2, The La’s, the Crows’ favorites The Psychedelic Furs, etc.) for that.

Ryan Adams repays Adam’s guest spot on the Gold album with co-writing and backing vocals on ‘Butterfly In Reverse’. In parts it gets a bit Bacharach but the quaint, lilting chorus makes up for that. (The album is) varied and consistent, taking in everything from New Wave to twangy rock via all your dad’s old Small Faces LPs, and is quite easily their most approachable, solid album yet.”

Built in G major overall, “Butterfly in Reverse” is indeed Bachrachian in spots (never a bad thing!). Its relaxed psychedelic waltz seems like it might have been composed on a merry-go-round pipe organ. 0:28 sounds like a key change is in progress, but it’s a transient fake-out. From 1:19 to 1:44, the tune’s dizzy midsection takes us on a sampler tour of several keys. From 1:44 on, we’ve touched back down in G major, right down to the surprise unresolved ending on the dominant chord.

The Stylers | Pushing Up Daisies

Before it hit on its trademark R&B sound, the legendary Motown label apparently did some wandering (or was it reckless driving?) in the wilderness.

” … a finger-wagging sermon against dangerous driving, delivered by a dead narrator following a fatal car accident, complete with another knuckle-bitingly terrible spoken-word bit,” (Motown Junkies) ” … it’s inescapable that (“Pushing Up Daisies”) is destined to be a piece of short-lived novelty nonsense and not a useful parable about the importance of road safety, never mind a half-decent pop song … Manifestly silly despite the macabre subject matter, this is still very much below Motown Quality Control’s usual threshold; it’s a mystery how it managed to find its way into actual record shops. The Stylers weren’t invited back for a follow-up; this was their one and only Motown release.”

“Pushing Up Daisies” (1963) shifts up a half-step at 0:38 and 1:30 — that much is clear. But why does this video feature a 45 of Martha + the Vandellas’ “Heat Wave”?

The Foreign Exchange | Right After Midnight

“The Foreign Exchange — the vocalist/producer brainchild of Phonte (Coleman) and Nicolay (Matthijs Rook) — has always moved somewhat outside of its time.

Amid the radio eminence of early 2000s hip-hop, it was an online chat room where the North Carolina emcee and the Netherlands-based producer first linked on the then-budding hiphop superfan site Okayplayer,” (Super Empty). “Their transatlantic file sharing led to a cheekily named 2004 LP, Connected, before the two ever even met on the same continent — one of the first albums to be co-created remotely over the Internet.”

Released on the duo’s 2013 album Love in Flying Colors, “Right After Midnight” begins in Db mixolydian. At 0:58, the pre-chorus hits, alternating lines in Bb major and Bb minor. The chorus enters at 1:17 with a return to the original key; the pattern continues from there. Phonte alternates rapping with singing on many of the group’s tracks, but this track is 100% driven by melody, with a prominent support role by vocalist Sy Smith.

Earth, Wind + Fire | Got to Get You Into My Life

“‘Got to Get You Into My Life,’ from 1978’s soundtrack to Sgt. Pepper’s Lonely Hearts Club Band, (is) a stroke of genius; the horns are over the top, and the Fire slick up the original, playing it at a faster tempo and in general kicking the ass of the original,” (The Vinyl District). “Phillip Bailey (falsetto) and Maurice White (tenor) swap vocals, White plays the kalimba (or African thumb piano), and the guitarist wails, and what you’ve got is one perky slice of eminently likable funk, lightweight division.”

“The Los Angeles-based funk band were enjoying a run of hits when impresario Robert Stigwood invited them to appear in a movie based around Beatles songs (Sgt Pepper’s Lonely Hearts Club Band),” (Financial Times). Their leader, Maurice White, smelled a turkey but, having sifted through The Beatles’ catalogue, thought ‘Got to Get You Into My Life’ had crossover potential. He signed EW&F up, recorded the song in an afternoon and insisted it be released prior to the film (in 1978).

It was a wise move, as the film and its double LP soundtrack tanked to such an extent that it hampered the careers of its stars (Peter Frampton, the Bee Gees) while EW&F scored a huge US hit — their version, with its bright horns, disco shimmy and loose, funky ebullience, remains a club classic today. In White’s autobiography he says word reached him that McCartney considers EW&F’s version his favorite ever Beatles cover.”

The track features a (relatively!) soft-spoken intro in G minor featuring a complex hook (first stated at the very top of the track and returning throughout). The tune gets started in earnest at 1:02 with a shift to a verse in G major and a jump into a different groove. There’s a return to minor at 2:14, then a return of that hook, followed by a visit back to major for an instrumental verse featuring a short guitar solo at 2:45. At 3:13, we return back to minor for the balance of the tune.

The Supremes | Everybody’s Got the Right to Love

” … The Supremes—all three members—all close together (on the album cover) and looking happy, instead of cheap artwork like on the last two LPs because Motown couldn’t bother to put the ladies together and waste Diana Ross’s time,” (Soulfinger). ” And not only did Mary Wilson, Cindy Birdsong, and new member Jean Terrell take a picture together, they also got to work together in the studio! No Supremes album since The Supremes Sing Holland-Dozier-Holland (released three years earlier) had the Supremes singing every song on a Supremes album.

As for the music itself, this album is by no means groundbreaking. The ‘new’ (Diana-free) Supremes would never be trendsetters. This LP is an excellent case of how a group, songwriters, and producers can exist in a moment, assess the situation, and produce some high quality music that simultaneously evokes a particular point in time without being trapped by the gimmicks of that point in time.

Simply put, Right On is an album that clearly sounds like it was made in 1970 but is not trapped by being made in 1970. It was also a solid seller reaching #4 on the R&B album chart and #25 on the pop register.” One of the singles from the album, ‘Everybody’s Got the Right to Love,'” is “obviously playing off the various social movements of the late 1960s demanding greater freedom and rights for marginalized Americans … “

Built around an easy 12/8 groove, the tune is initially built in F major. A whole-step shift upward to G major hits suddenly at 1:30. The tune certainly didn’t match the group’s previous single, “Up the Ladder to the Roof,” but it reached #11 on the US R&B charts and #25 on the Pop chart. Written by Lou Stallman, the tune was released by Motown in 1970.

Silly Wizard | Finlay M. MacRae

“Silly Wizard were pioneers in developing the modern Scottish folk group blueprint, popularizing Scottish music around the world through playing traditional music with a never-before-heard energy, spirit, and spontaneity and introducing original songs and tunes written from within the tradition,” (Hands Up for Trad).

“Formed in 1972 by guitarists Gordon Jones, Bob Thomas, and Bill Watkins and named after a character who shared their Edinburgh flat, Silly Wizard began playing at the capital’s Triangle Folk Club. Soon after singer Chris Pritchard replaced Bill Watkins, they added a teenager who would go on to play a crucial part in the band’s image as well as their music, Johnny Cunningham. A tremendously exciting, virtuosic fiddler, who was still at school and often had to be picked up from and returned to the school gates after overnight drives from gigs, Johnny energised the band’s live performances and helped to generate a new young following for folk music.

… Booked to play an opening twenty-minute spot in front of an audience of thousands at Philadelphia Folk Festival in 1979, Silly Wizard, now in its classic five-piece line-up (Bob Thomas having left), won a standing ovation and almost instantly created a huge demand in the US for a brand of folk music that could be as passionate in the low gears as it could be rousingly intense at full tilt and was always presented with wit and an infectious sense of fun.”

Originally released in 1983, “Finlay M. MacRae” initially features a mid-tempo waltz feel in A minor. At 1:34, a penny whistle joins the accordion, bringing a more sprightly tempo and a transition to a 4/4 feel. 2:17 brings a return to a focus on the accordion and a shift upward to B minor. A close listen also reveals many fast-firing repeating notes in the accordion melody, using sequential flicks of multiple fingers — some fancy playing indeed!

MotD at 15

15 years ago yesterday, Modulation of the Day made a humble debut on Facebook.

Since then, we’ve had:

  • half a dozen regular contributors
  • scores of one-time or occasional contributors from around the world
  • 102,000+ page views
  • 62,000+ visitors from nearly every nation on earth

Our top posts cover a huge portion of the range represented by our overall content: classical (choral and symphonic), a cappella, musical theatre, pop, jazz, R+B, and soul.

All the thanks go to our readers/listeners spreading the word. Plenty of visitors find us via search engines and social media posts, but the largest source of our traffic is now direct: people bookmark the site, or remember our site name as a search term. No matter the method, we couldn’t be more grateful for all the visits, whether they’re a first or a 100th!

Peter Gabriel | Sledgehammer

“Peter Gabriel is one of the great sonic explorers of pop-music history, a classic restless spirt whose wanderings have always demanded attention,” (Stereogum). “Gabriel has a decades-long history of big, bold gestures. He was early on all sorts of things — art-rock theatricality, massive drum-sound reverberations, the pop-music embrace of various different forms of African music. He championed worthy global political causes and worthy global musicians, exposing them to people who would’ve never otherwise known much about them. Few artists have had as much effect on the texture of pop music, on the way that you can turn songs into complete sonic environments. So naturally, the one time Peter Gabriel hit #1 in the US, he did it with a janky, digital white-soul song about his dick. That’s pop music for you.

(1986’s) ‘Sledgehammer,’ Peter Gabriel’s big hit, is one of the many, many songs that owes a great deal of its success to its music video. That’s another thing that Peter Gabriel embraced early: The warping, convulsive possibilities of music videos as an art form. Gabriel’s ‘Sledgehammer’ video is one of the all-time masterpieces of the medium … By some estimates, ‘Sledgehammer’ is the most-played video in the entire history of MTV.

… Gabriel’s early singles did pretty well on the UK charts. In the US, Gabriel was less of a presence. A couple of tracks charted: 1977’s ‘Solsbury Hill’ at #68, 1980’s ‘Games Without Frontiers’ at #48. But Gabriel was more of a culty, esoteric figure until the advent of MTV made him harder to ignore. 1982’s ‘Shock The Monkey’ reached #29, largely on the strength of its memorably freaked-out video. Still, a song like “Sledgehammer” represented a real and self-conscious turn towards the pop mainstream … Gabriel has acknowledged that ‘Sledgehammer’ owes much of its pop success to the video … But on its own, ‘Sledgehammer’ is a charmingly goofy dance-pop song with production that makes it sound fucking huge, like a spaceship taking off. Even without the video, it would’ve been a hit. Even without the video, it’s a lot of fun.”

After an intro in Eb minor, the verse shifts to Eb major (with the major third prominently placed as the vocal melody’s opening note) at 0:52. At 3:11, there’s a return to the original key for an interlude, with the vocal re-joining the mix at 3:41 for the bridge.