Mod of the Day

Almond Joy + Mounds Jingle | Sometimes You Feel Like a Nut

“If a commercial comes up on TV and it involves a candy bar and a tropical island, you can quickly guess that it’s an ad for Almond Joy or Mounds,” (The Daily Meal). “Since 2010, the coconut-filled chocolate candy brand has leaned on the island vacation theme for advertising its products, with commercials featuring the tagline ‘Unwrap Paradise’ and more recently, ‘Almond Joy is Tropi-Calling.’ In the background of these commercials you can also hear calypso music playing, but what some people fail to realize is that it’s actually to the tune of Almond Joy’s original slogan and jingle.

Nowadays the jingle is instrumental, but in commercials pre-dating 2010, the lyrics ‘Sometimes you feel like a nut, sometimes you don’t’ were also sung. In a throwback of sorts, Almond Joy and Mounds released a 2021 commercial featuring the full song, and judging by the comments on YouTube, the older slogan is much more iconic, at least among the candy brand’s older fans.” The pre-2010 ads “would usually showcase different types of ‘nutty’ behavior, such as riding a horse backwards or flying a plane upside down. This concept was first introduced to TV in 1977, but the jingle and slogan was actually written seven years prior when Peter Paul Candy Company, the manufacturer of Almond Joy and Mounds, hired American composer Leon Carr … in 2003, the lyric ‘Sometimes you feel like a nut, sometimes you don’t’ was inducted into the Advertising Slogan Hall of Fame for the success it brought to the company.”

You’d think that a sprightly ad jingle clocking in at only 30 seconds wouldn’t need extra gas in the tank. But the Almond Joy/Mounds spot manages it, with a half-step upward shift in key at the 0:16 mark. Many thanks to our regular contributor Rob P. for sending in this sweet little tune!

Devo | Girl U Want

(In 1980), American art-rock band Devo released their breakthrough record, Freedom of Choice,” (Variety). “The album not only spawned the new wave smash ‘Whip It,’ but the full-length still stands the test of time, with singles such as ‘Girl U Want’ and especially the title track, still resonating today with fans … “

Devo member Gerald Casale: “‘Whip It’ was a fluke. Warner Brothers put all their chips on the first single, ‘Girl U Want.’ They released that first, and it just stiffed. Then suddenly this guy named Kal Rudman [the founder of Friday Morning Quarterback, a noted radio trade publication that covered the radio and broadcast industry] — he was a regional programmer, he had a tip sheet, and this was a guy who had ears — he actually listened to the albums people sent him. And on his own, he decided that he loved “Whip It” and started playing it. Warner Bros. wasn’t sending him money to play it; he just loved it. And it took off down south first, then quickly spread up the east coast and by the time it hit New York, it was over. We had to recalibrate our whole tour that year, and we suddenly were no longer playing 400-seat clubs; instead, we were playing 2000-5000 seat venues.'”

During the verses of “Girl U Want,” the melody is in an ambiguous, colorless key of “E” (outlined by the persistently spiky flatted seventh in the melody co-existing with the prominent natural seventh in the accompaniment). 1:16 brings a shift to a more settled C major for the bridge. The pattern continues from 1:26 — until the unresolved ending suddenly drops off a cliff.

Eurythmics | There Must Be An Angel

“Released in June 1985, ‘There Must Be An Angel’ it became Eurythmics’ only UK #1 single — a jubilant, gospel-infused track that remains one of their most celebrated works,” (Ultimate Eurythmics). “Written by Dave Stewart and Annie Lennox, the song is a euphoric blend of soul, pop, and gospel, with Annie’s vocal soaring above a rich arrangement. But what truly elevates the track is the harmonica solo, performed by none other than Stevie Wonder … The single was the second release from the Be Yourself Tonight album, following the punchy ‘Would I Lie to You?’

… The lush orchestration, gospel choir, and Stevie’s harmonica all contribute to a sound that feels transcendent … Annie has described the song as ‘pure joy,’ a deliberate contrast to some of the darker, more introspective material in Eurythmics’ catalogue. Dave Stewart once recalled that when they were working on the track, Annie said, ‘This could be great for Stevie Wonder,’ and the idea of bringing him in added to the song’s sense of wonder and spontaneity.

The 1985 track is built primarily in C major, but from 2:34 – 3:08, the bridge shifts to Bb major, bringing a temporary change in the groove as well. An instrumental verse follows the bridge (including the harmonica feature).

Twennynine (feat. Lenny White) | Morning Sunrise

“Lenny White was 20 years old when he appeared on Miles Davis’ breakthrough fusion album, Bitches Brew,” (Progrography). “Yet it was in a different setting with Chick Corea, Return to Forever, where White would make his greatest impact as the drummer in RTF’s classic quartet lineup alongside Stanley Clarke and Al DiMeola. In the 70s, White released a steady flow of solo albums and brought his distinctively crisp drumming (and wide-brimmed hat) to various sessions. Venusian Summer (1975) and The Adventures of Astral Pirates (1978) are highly recommended to fans of prog/fusion.

In the 80s, Lenny White formed the funk band Twennynine, which released three albums: Best of Friends (1979), Twennynine with Lenny White (1980) and Just Like Dreamin’ (1981). He also recorded a few jazz albums with his Miles Davis alums, including Echoes of An Era (1982) with vocalist Chaka Khan. In the 90s, White recorded hip-hop/funk records on the Hip Bop Essence label. He continues to release occasional albums, including Anomaly (2010).”

White’s Twennynine project is now remembered by only the most ardent fans, but it’s remembered fondly! The intro and verse of the R&B ballad “Morning Sunrise,” from the 1979 album Best of Friends, are built in A minor. The chorus shifts to D major at 0:55. At 1:22, the cycle repeats. Many thanks to our Brazilian contributor Julianna A. for this submission!

The Bee Gees | I’ve Gotta Get a Message to You

“(2023 marked) a half-century since the Bee Gees infiltrated the American charts with a run of singles,” (American Songwriter). “While the band rose to rarefied heights in the disco era (and plummeted just as precipitously once the genre fell out of fashion), those ’60s singles still exemplify their rare combination of pop songwriting smarts and gilded harmonies better than any of the other music they released in their storied career. And ‘I’ve Gotta Get a Message to You’ just might be the high-water mark of that period.

As Barry Gibb remembered in the liner notes to the 2006 reissue of Idea, the 1968 album that contained the song, that vocal approach was the last-minute brainchild of producer Robert Stigwood. ‘Now that was a memorable night. The song we wrote together, all three of us. I think that night, I know for a fact, we didn’t sing the choruses in harmony. Robert called us back to the studio at 11 o’clock at night and said, I want the choruses in harmony, I don’t want them in just melody. I want three-part harmony choruses. So we went in and attempted that ’round about midnight. Everyone drove back to the studio, and that’s what we did.'”

The verse of the somewhat de-tuned track begins in B major, but the chorus brings a shift to C# major at 0:33. The pattern repeats at 0:57 and 1:42 for the second and third verses and choruses, respectively. At 2:27, the chorus climbs another rung up to D# major. As was common practice at the time, the Australian trio were lip-synching to the 1968 studio track, so as was the case with most “live” (canned!) performances of the era, the visuals of the ending are a bit ragged.

Bruce Hornsby | What the Hell Happened

“Relevancy is an ambition that countless artists strive for, yet so few actually achieve,” (Glide Magazine). “Iconic pianist Bruce Hornsby can proudly count himself among those fortunate few. With a storied musical career that has spanned (50) years, the Williamsburg, VA native continues to be a prominent influence on many modern artists – from Spike Lee to Bon Iver – that seemingly encompasses nearly all aspects and genres of the music industry.

Starting in 1974 … he formed the Grateful Dead cover band Bobby Hi-Test and the Octane Kids with his older brother Bobby Hornsby … By 1980, Bruce and his younger brother John Hornsby moved to Los Angeles, where they spent the next three years writing songs together for 20th Century Fox. In 1986, Bruce, along with his newly-formed backing band The Range, released the multi-platinum album The Way It Is for RCA Records. It was that album’s eponymous chart-topping title track that propelled the group towards receiving their first Grammy Award, for Best New Artist, in 1987.”

Since then, Hornsby has continued to perform extensively — with his band The Noisemakers, touring solo, and supporing the Grateful Dead on keys and vocals. His writing style hasn’t really pivoted away from the pop-friendly sound of his days with The Range; it might be more accurate to say that his musical palette has expanded exponentially. A wonderful example of Hornsby’s relentless eclecticism is “What the Hell Happened” from 2004’s Halcyon Days. “Self-deprecating humor has always been a hallmark of Bruce’s lyrics, and the polytonal ‘What The Hell Happened’ might be his greatest example … (a) Randy Newman-esque piece.”

The tune’s intro and verse are built around Eb minor, but not without plenty of ear-bending alterations. At 0:39, the chorus shifts to Gb lydian. 0:56 brings a seams-hidden change to F major for an extended instrumental break, driven by Hornsby’s rock-solid stride technique and fluid right hand runs. At 2:41, we return to Gb lydian until near the end, when Eb minor makes another appearance. The tune’s overall feel might bring to mind one of Randy Newman’s sepia-toned tales, but the harmonic vocabulary is miles beyond — to borrow the title from another track on the album, very “Circus on the Moon.”

IU | Good Day

“Arguably the country’s most popular singer-actor of her generation, IU steadily gained recognition after kicking off her career in 2008, but was still finding her musical footing at the start of the 2010s. Then came 2010’s ‘Good Day.’ Upon first listen, it’s a bouncy, sweet tune, bolstered with orchestral instrumentation and synths. Then the production shifts into funk-inflected pop, as bold horns and dulcet, layered vocals emphasize IU’s bright, bold, and candied sensibility. ‘Good Day’ glides along key changes and soars with the momentum of confessed love — hitting a three-note jump in IU’s voice so singularly spectacular that it instantaneously launched her into the realm of legendary Korean singers.”

Rolling Stone Australia rated the 2010 tune #3 in its collection of The 100 Greatest Songs in the History of Korean Pop Music. Many thanks to our contributor Ziyad for sending in this distinctive track!

Starting in E major, the tune shifts to G# major at the chorus (2:05). At 2:52, we land in the original key for the next verse. At 4:14, there’s a shift up to A major as the chorus repeats. The orchestration fireworks that take us from section to section are not to be missed!

Eric Clapton | Let It Rain

“Eric Clapton was such a reluctant recipient of the solo spotlight in the early 1970s that he hid behind a different band name at least some of the time,” (UDiscoverMusic). “But after Derek and the Dominos’ ‘Layla’ had belatedly become a Top 10 US hit on Atco in August 1972, Polydor hoped to keep the momentum going by returning to Eric’s self-titled debut solo album of two years before.

The result was the release of his soft-rock co-write with Delaney and Bonnie Bramlett, ‘Let It Rain,’ as a US single. It was a new entry on the Billboard Hot 100 for September 23, 1972. The track entered at #80 … The song stuttered up to halfway on the Hot 100, most weeks without the “bullet” that signified major sales or airplay increases, and stopped at #48 in the chart for the first week of December. Clapton wouldn’t make the Top 10 as a solo artist again until 1974, but when he did, he went all the way to No.1, with ‘I Shot the Sheriff.’”

After an intro in A mixolydian, 0:15 brings a verse in D mixolydian. 1:17 features a return of the intro material, this time as an interlude. The sections continue to alternate from there.

Gary Wright | Love is Alive

“Gary Wright released the second single from his 1976 album The Dream Weaver, a song which hasn’t gotten nearly as much love from radio as the album’s title track,” (Rhino.com). “Maybe that’s because of all the exposure that ‘Dream Weaver’ got from its usage in Wayne’s World, (but) both songs hit the same spot on the Billboard Hot 100.

What those who weren’t around at the time often forget, however, is that ‘Love is Alive’ – which was both written and produced by Wright – was actually the first single released from The Dream Weaver … and it was a big ol’ flop. It just absolutely stiffed. But after ‘Dream Weaver’ came out and took the charts by storm, Warner Brothers reissued ‘Love Is Alive,’ and – like ‘Dream Weaver’ – it made it all the way to #2! … It also managed to make a very brief appearance on the R&B Singles chart, hitting #98 before falling back off. Not what you’d call a dramatic showing, but it’s still something that “Dream Weaver” never managed!”

The verse is built in F minor, with a prominent mischievous trill between the flat third and major third degrees of the tonic chord while the bass line sticks clearly to F minor. The chorus (first heard between 0:49 and 1:08) shifts to F major.

Spyro Gyra | Morning Dance

“Morning Dance was the breakout recording for Spyro Gyra; (the band) and co-founder/composer Jay Beckenstein will forever be associated with the title track from this album,” (Audioholics). “This wildly successful follow-up to their debut album (simply titled Spyro Gyra) was eventually certified RIAA Platinum.

… The 1970s were a vibrant time for instrumental jazz, with artists like Chuck Mangione, Maynard Ferguson, and Herb Alpert (in addition to Spyro Gyra) all charting Top 40 singles. Beckenstein has candidly admitted in interviews that he never expected anything beyond Spyro Gyra’s self-titled debut album, which was recorded and distributed ‘on their own nickel.’ The unexpected success of that album resulted in a major label record contract complete with ‘more money than they could imagine’ to produce and release Morning Dance — and the rest is jazz history. While Spyro Gyra debuted in the shadow of super-groups like Weather Report and Return To Forever, they were just as successful commercially, ultimately outlasting them all!”

The Caribbean feel of “Morning Dance” is established immediately, with steel drums leading the intro and multiple layers of percussion throughout. Alto sax and vibes alternate on lead after that point. 3:13 brings a half-step shift up into a new key for an alto sax solo on the gradually fading outro.

for Andy