Mod of the Day

Rusty Kershaw | Fisherman’s Luck

“Musician Russell Lee ‘Rusty’ Kershaw, brother of fiddler Doug Kershaw and former member of the Rusty & Doug, passed away in 2001 at the age of 63,” (CMT.com). “Kershaw, who was born in Louisiana Feb. 2, 1938, joined his brothers Doug and Nelson (“Pee Wee”) in 1948 to form the Cajun band Pee Wee Kershaw & The Continental Playboys.” They later appeared on KPLC-TV in Lake Charles, Louisiana, Louisiana Hayride, and the Wheeling Jamboree on radio station WWVA in Wheeling, WV.” As a duo, Rusty & Doug released several top 20 Country singles. “Rusty & Doug joined the Grand Ole Opry in 1957. Over the next three years, the Kershaws charted three more singles … ‘Louisiana Man’ went to #10. The duo signed to RCA Records in 1963. The next year, however, Rusty left the duo.

Continuing to record and perform on his own, Rusty Kershaw released the album Cajun in the Blues Country (1970). He figured prominently in Neil Young’s 1974 album, On the Beach, playing fiddle and slide guitar and also providing the liner notes. Young later returned the favor by performing on eight tracks of Kershaw’s … 1992 album, Now and Then.”

One of the tunes from Cajun in Blues Country, featuring Charlie Daniels on fiddle, was “Fisherman’s Luck.” After the tune begins in D major, there’s a shift up to A major for the chorus (0:56), then a fall back to the original key for the next verse. The pattern continues from there.

Mily Balakirev | Islamey (Boris W. Berezovsky, piano)

“Reputed to be the hardest work for piano, Balakirev’s 1869 work Islamey saved many a pianist’s weary wrists when it was orchestrated in 1907 by Alfredo Casella,” (Interlude.hk). “Its reputation ensured that both Rubinstein and Liszt had the piano work in their concert repertoire.

… The work as a piano piece is important in Russian musical history because it was the first Russian work to become established in the mainstream repertoire other than as a salon piece. Putting it on the European stage under the fingers of Franz Liszt made the work one of the stars of the new exoticism coming out of Russia. Making it into an orchestral piece extended its reach … Islamey, taking its themes from the Caucasus and Armenia, again brings the remote reaches of Russia back to its main cities. The dedicatee of the piano work, Nikolai Rubinstein, gave the premiere of the work in St. Petersburg in late 1869.”

This landmark composition undergoes many changes in key. But perhaps the most profound occurs at 7:44, when the modulation is also accompanied by a transition in both tempo and time signature — from a frantic 12/16 to to a luxurious Andantino in 6/8.

The Jam | Beat Surrender

“In May 1977, a three-piece rock group from Woking appeared on Top Of The Pops,” (TheJamOfficial). ” … the energy and sense of purpose that was firing what had been called punk and was now mutating into New Wave, but it had a lot more: a melodic charge … that betrayed its makers’ love of classic British pop, and the clear sense that the band’s main creative force was already thinking like an accomplished songwriter. Between 1977 and 1982, the band released an incredible array of music. In the UK, there were five albums and 17 singles, a stack of number 1s, and a journey which encompassed no end of influences, styles, and textures.

“The final single by The Jam, one of those rare cases where a band really did quit at the top, made its UK chart debut on December 4, 1982.” (UDiscoverMusic). “‘Beat Surrender’ debuted at #1 to give the band their fourth and final bestseller, and within a few days The Jam were effectively no more. The Paul Weller composition had a distinct soul flavor which, with hindsight, can be seen as a preview of the direction he would take with his new band, the Style Council. The horn-filled sound spoke of Weller’s love of classic R&B, on a high-energy swansong to The Jam’s five years of unbroken success.”

After an opening chorus in (approximately!) A major, the first verse starts in D major at 0:17. At 1:27, the groove shifts into a bridge in C# minor, followed by an instrumental verse and then a vocal verse, both in D major, at 1:52. At 2:14, the chorus returns and repeats to the end — this time in a more conventional version of A major.

Someone Else’s Story (from “Chess”)

Chess The Musical is a musical stage production with a very interesting story line that captures the essence of the Cold War … Tim Rice, the legendary British musical theater lyricist, and writer, became hooked on the epic chess match between world chess champions Bobby Fischer and Boris Spassky. It was during the Cold War that tension between the US and the USSR led to his thinking, “Hey, this would be a great backdrop for a story.”

Tim was a regular collaborator with Andrew Lloyd Webber for a while and he wanted to work with him again. Unfortunately, Andrew was busy with Cats, so Tim (worked with) ABBA’s Björn Ulvaeus and Benny Andersson. We can say Chess The Musical is about the rivalry between the American and Russian players with a romantic subplot … Even before it hit the stage, it was clear that the soundtrack for Chess was a total game-changer. Released as a double LP concept album in 1984 by RCA Records, it quickly became a worldwide hit. The show later had its West End debut in 1986 and its Broadway opening in 1988.

The New York Times called the album “a sumptuously recorded…grandiose pastiche that touches half a dozen bases, from Gilbert and Sullivan to late Rodgers and Hammerstein, from Italian opera to trendy synthesizer-based pop, all of it lavishly arranged for the London Symphony Orchestra with splashy electronic embellishments.” The standout single, “One Night in Bangkok,” performed by Murray Head, ranked #3 on the US Billboard Hot 100 list.” Other standouts from the soundtrack include “I Know Him So Well,” “Pity the Child,” “The Arbiter,” and “Nobody’s Side.” The ballad “Someone Else’s Story” begins in F major; after a a bridge starting at 2:16, the key shifts up a full step to G for the balance of the tune.

Christopher Cross | Think of Laura

“‘Think of Laura‘ is a popular song by the American Grammy Award-winning singer-songwriter Christopher Cross,” (SessionDays). “Released as a single in late 1983 from Cross’ second studio album, Another Page, ‘Think of Laura’ became the singer’s fourth (and, to date, final) single to reach the Top 10 on the Billboard Hot 100 chart, where it peaked at #9 in early 1984. The song spent eleven weeks in the Top 40. In addition, the song became Cross’ third single to hit #1 on the adult contemporary chart, following ‘Never Be the Same’ and ‘Arthur’s Theme (Best That You Can Do).’ It remained at #1 on this chart for four weeks. The song was written by Cross and produced by Michael Omartian.

The song became popularized when the American television network ABC began playing ‘Think of Laura’ in reference to a character on the soap opera General Hospital … Cross allowed ABC to use his song in this context; however, he has stated that he wrote ‘Think of Laura’ … to mourn the death of Denison University college student Laura Carter, who was killed when she was struck by a stray bullet during an altercation among four men over a block away. Cross had come to meet Laura through her college roommate Paige, whom Cross was dating at the time … he wrote the song as a way of offering comfort to Paige and honoring Carter’s memory … The lyrics express the sorrow felt by those who knew the woman, but ask that she be remembered with happiness.”

The tune begins with a verse in D major; at 0:29, with the help of a common tone in the vocal melody, the key shifts to B major. The pattern continues from there. The focus throughout is on the heartfelt lyrics and Cross’ instantaneously recognizable (counter?)tenor and distinctive phrasing. Many thanks to regular contributor Rob P. for yet another wonderful addition to MotD!

Elis Regina | O Cantador

“To really appreciate Elis Regina, start with the lowly half-step,” (NPR). “It’s the penny of the music world — the smallest interval on the piano. Some vocalists treat half-steps as annoying afterthoughts. They smush them together into a blur. Regina’s art happens inside the half-steps, in the tiny increments that make up a melody. When Regina sings, half-steps seem to expand. Partly, that’s a reflection of her exacting technique: When she wants to, she can nail the most challenging intervals. At the same time, she’s not at all fussy. Her lazy, endlessly sloping phrases magnify the sometimes hidden shades of meaning in a lyric. She’s the rare singer who can conjure an ocean of love trouble in the space between C and C-sharp.

Like so many Brazilians, she learned her craft by interpreting the intricate, half-step-rich songs of Antonio Carlos Jobim. One of her career milestones, recorded in the early ’70s, is an intimate duo recording with the great composer — Jobim backs Regina on piano — titled Elis and Tom … Regina brought a mischievous streak and a jazz singer’s taste for adventure to everything she did. She reimagined samba and bossa nova classics. And in the late ’60s, she became a champion of the young Brazilian songwriters who were integrating elements of British and American rock. Her interpretations of songs such as ‘Nada Sera Como Antes,’ by Milton Nascimento, helped bring attention to this new generation of talents — the movement known as Tropicalia.”

Regina’s version of “O Cantador” by Nelson Motta and Dori Caymmi, was first released in 1967. At 2:59, the key is raised by a half-step with a syncopated kick, only to come back down again at 3:06. But as the tune fades, the higher key prevails (3:13). Many thanks to our regular Brazilian contributor Julianna A. for this tune — her seventh wonderful MotD submission!

The Lemon Twigs | Any Time of Day

“The Lemon Twigs recorded Everything Harmony in New York and San Francisco in 2021, and they produced the LP themselves,” (Stereogum). “In a press release, (band member) Brian D’Addario names Arthur Russell and Moondog as big influences on this record, and he has this to say about the new songs:

Their arrangements entered my head when we were arranging the strings on the album, and we worked for a long time on our vocal blend. On previous records, whoever wrote the song might do most, if not all, of the harmonies on their track, but not so much on this one. Our blend is a strength that we tried to exploit as much as possible.

You can hear that blend at work on ‘Any Time of Day,’ which has a real ’70s easy-listening vibe, combined with a bit of psychedelic seasickness.”

Starting in F major, the tune pivots into E major for the chorus (0:20 – 0:38). But F major is back for the next verse, then E major for the second chorus. The harmonically dynamic bridge (1:18 – 1:51), expansive in comparison with all that came before, leads to some final choruses — a saturated wall of sound in F# major.

Lawrence | Hip Replacement

“As NPR writes, ‘siblings Clyde and Gracie Lawrence are not your typical pair.’ Clyde Lawrence and Gracie Lawrence have been writing songs and listening to countless Stevie Wonder, Randy Newman, and Aretha Franklin records in their family’s New York City apartment since they were little kids,” (GroundUp Management). “After years of playing together, they officially created Lawrence, an eight-piece soul-pop band comprised of musician friends from childhood and college. The band has since gained a devoted following for its high-energy, keyboard-driven sound, which features tight, energetic horns and explosive lead vocals … In 2024, Lawrence entered a new era with the release of their fourth studio album, Family Business. The album’s opening track, ‘Whatcha Want’, broke into the Top 40 on the US Pop chart.

… In addition to creating music, in December 2022, Clyde Lawrence wrote an article published by the New York Times regarding the unfair dynamics that artists face in the live music industry as a result of the merging of Ticketmaster and Live Nation. In January 2023, Clyde Lawrence and Jordan Cohen were invited to testify at a U.S. Senate Judiciary hearing in Washington, D.C., on the topic of live event ticketing … Lawrence and Cohen continue to spread the word about the challenges in the live event promotion and ticketing space in conversations with outlets like NBC News, Vice News, Politico, and more.”

“Hip Replacement,” from the band’s 2024 release Family Business, has all of the hallmark funk of a powerhouse Tower of Power track — until Lawrence’s trademark tag team and octave unison vocals hit. Starting in F# major, the track jumps up to G# at 0:37 and then A for the chorus at 0:46. At 1:04, we’re back to F# for the next verse. The pattern repeats until 2:01, when the track shifts into an extended instrumental bridge in F. The chorus later returns, but the tune remains in F as it tumbles all the way to the end.

Many thanks to Joya M. for this perfect Friday night mod — her third contribution to MotD!

America | I Need You

“The first half of the 1970s was the heyday of introspective songwriting and close-harmony singing,” (AllMusic). “The band America lay at the commercial end of this movement, releasing a string of singles that earned radio play for years.”

“Gerry Beckley, Dewey Bunnell and Dan Peek formed the band America in 1970 when two of them were still in their late teens,” (EntertainmentFocus.com). “Their eponymously-titled debut studio album was released the following year, and they were immediately established as a highly popular and successful folk band. Their acoustic sound captures the spirit and time of the early 1970s, and their soft, soulful vocals and haunting harmonies give them an output a little similar to Simon and Garfunkel, but more rural to their urban.”

After a start in A major, a quick and compelling cycle into C major (and back) happens twice during the the chorus (0:12 and 0:26). The chorus, first heard at 0:37, is in G major. At 1:09, we’ve moved on to verse 2, where the pattern repeats. The contrast of the verses’ wistful solo vocal with the tight three-part vocal harmony of the choruses is central to the enduring appeal of this track.

Mountain | Nantucket Sleighride

“A lot was expected of Mountain’s second album when it arrived in January 1971,” (Ultimate Classic Rock). “Nantucket Sleighride appeared 10 months after their debut, Climbing!, and 10 months before third LP, Flowers of Evil.” The New York-based band’s release “was another strong offering, highlighted by the nearly six-minute title track.

Referencing the true story of a young man whose whaling vessel became the victim of its prey (which inspired Herman Melville’s novel Moby-Dick), it also drew on a 400-year-old Scottish folk tune … Despite being regarded as one of the world’s first heavy metal bands, there was plenty of prog-rock and psychedelic pop to be found here. And it all felt seamless.”

After beginning in E minor, the tune features a contrasting section in A major, running between 1:07 – 1:42. E minor returns in an instrumental interlude at 1:42. Quite a few more shifts in tonality follow.