Elise

Edward Elgar | Enigma Variations

“Elgar was born on 2nd June 1857 at Broadheath, a village some three miles from the small city of Worcester in the English West Midlands,” (Elgar.org). “His father had a music shop in Worcester and tuned pianos. The young Elgar, therefore, had the great advantage of growing up in a thoroughly practical musical atmosphere. He studied the music available in his father’s shop and taught himself to play a wide variety of instruments … Elgar was very largely self-taught as a composer – evidence of the strong determination behind his original and unique genius.”

“Premiered in London in 1899 … the Enigma Variations consist of a theme followed by 14 variations … apparently created when, during a spot of pianistic doodling after a long day teaching, Elgar was prompted by his wife Alice to develop a tune which she had enjoyed amidst the tinkling,” (Edinburgh Music Review). “The variations developed into representations in music of various friends and colleagues, some whimsical, some deeply moving, and Elgar hinted at some deeper profundity, and also at another hidden theme, hence the name, ‘The Enigma Variations.’ For me, the mystery is much less interesting than the actual music, which is sublime.

Variation IX, ‘Nimrod’, is justly famous. The title is a clever allusion to Elgar’s friend and editor, August Jaeger, whose name means ‘hunter’ in German. Nimrod was the ‘Mighty Hunter’ in Genesis, the first book of the bible, and this magnificent slow movement, dedicated to Elgar’s close companion, reveals the depth of their friendship.”

At 14:45, there is a prominent shift from G major to Eb over a hushed section — nearly a complete pause — at the beginning of the “Nimrod” theme.

Michael Jackson | I Wanna Be Where You Are

“While most Michael Jackson fans are busy listening to The King of Pop’s most renowned albums, Off The Wall, Thriller, Bad, and Dangerous, I find great pleasure in listening to his 1972 debut solo release, Got to Be There,” (Subjective Sounds) … “it’s an exceptional album and, in the context of his continued evolution towards superstardom, has become somewhat of an underrated and forgotten release.

Yes, everyone is aware of Jackson’s earlier recordings, particularly as the frontman of the Jackson 5, but this solo outing is a world-class record with a collection of 10 timeless tunes … The production, songwriting, and artistry are exactly what one would expect from Motown during the era … it’s Jackson’s impressive vocal delivery that makes this timeless album a hidden gem, (as) he was no longer sharing the limelight with his brothers. Jackson was only 13 at the time of recording … but it’s the Motown spit and polish that is so compelling … Berry Gordy and the team at Motown played a core role in Jackson becoming the King of Pop.”

There aren’t many moments when Motown and the Baroque era of classical music overlap, but the brief solo harpsichord intro of “I Wanna Be Where You Are” qualifies. The balance of the intro leading up to the verse at 0:14 features lush instrumentation, including a tight string section. The verse straddles the relative major/minor border, starting in B minor (can it be I stayed away too long) and ending in D major (did I leave your mind while I was gone). The major section takes up the most real estate, resting on the D major chord at the end of the phrase (with flute filigree touching on the major seventh degree of the chord.) At 0:32, the pre-chorus stands ten toes down on the minor side of the line, strings and harpsichord pegging the 16th-note intensity meter. But then we return with verse 2 at 0:51, progressing straight into the B minor chorus at 1:09, where the strings are newly liberated to deliver a syncopated yet lyrical countermelody. 1:28 brings another pre-chorus, again resting on a bed of relentless 16ths.

Via what might have been the biggest compound chord of the 1970s (1:45) leading into an instrumental verse with a flute feature, we drop into the new keys (C minor and Eb major). 2:06 brings a chorus in the new key, with Michael singing even higher (repeatedly topping out at a G5) all the way to the faded ending. All of this complexity is packed into less than three minutes! The co-writers were Arthur “T-Boy” Ross and Leon Ware; the track went to #7 on the Cash Box chart, #16 on the Billboard Hot 100 pop chart, and #2 on the Billboard R&B singles chart in 1972.

Leveret | Ricer II

“In the close-knit world of English folk music, Leveret boasts an impressive pedigree,” (NPR). “The trio’s Andy Cutting is renowned for his mastery of the melodeon, a type of accordion with a push-pull mechanism for intonation that imbues it with a wheezy kick. The band’s fiddler is Sam Sweeney, of the flamboyant nu-folk band Bellowhead, and its concertina player is Rob Harbron — both are deft and expressive musicians in their own right. (The concertina is yet another variety of squeezebox, a small hexagonal specimen with a pure, invigorating honk.) Within its respective milieu, Leveret might be considered a supergroup were the term not anathema to the band’s entire ethos: introspective, understated, minimalist.

… Leveret’s members have stated on multiple occasions that their music is not so much arranged as felt, operating without predetermined parts — a jam session. So profound is the trio’s communion that its players seem telepathic, charting a rippling musical terrain visible only to each other. Leveret’s (2017) effort features exclusively original material and is aptly titled Inventions. In an album overflowing with lovely melodies, ‘Ricer II’ is the most baldly euphoric. (The tune was composed by Cutting, who named it after a potato ricer, presumably one that brought him especially great joy.) The happy-go-lucky number skips along in accelerated triple-time; about halfway through, it even goes so far as to change keys, modulating triumphantly with the gusto of a Broadway finale. ‘Ricer II’ is neither difficult nor complex, just two short parts that circle round and round like a kitten chasing its tail.” The two keys in question are C major and (after 1:04) D major.

Barry Manilow | Daybreak

“Daybreak” (1977) is “… one of a few Manilow songs co-written by Adrienne Anderson. This track has the happiness of a new day beginning, with lyrics of peace and excitement,” (LanceWrites). “Its upbeat feel became a bigger hit for Barry at his live shows (the song only hit #23 on the U.S. charts, and #7 on the AC charts). Encouraging people to stop running around the rat race of life and just experience life’s simple things by singing to the world of being positive and full of love, which is still relevant today. Let the sun come through the clouds, is a theme that several of his songs have, encouraging people to go through their struggles and storms with a positive attitude.”

Released at the heart of Manilow’s legendary late-70s run, the track initially appeared on his 1976 studio album This One’s For You. Starting in D major, the tune shifts to Eb major at 1:09, making use of a catchy I-v progression as soon as the verse begins. Although the beginning of the end is at 1:54 — only the halfway point! — a late outro/tag adds another layer of “the end is near” with a shift to G major at 3:26. If a single tune were chosen to telegraph that Manilow was destined for eventual Vegas residencies, it’s this one!

The Intruders | I’ll Always Love My Mama

“Legendary Philadelphia soul producers Kenny Gamble and Leon Huff weren’t above making novelty records, and they were transparent about their desire to write timeless songs by pegging them to timeless events, like Mother’s Day,” (AVClub). “The Intruders’ ‘I’ll Always Love My Mama,’ from the 1973 album Save The Children, grew out of Gamble and Huff’s special-occasions initiative and is its most enduring artifact. ‘Mama’ is part of a grand tradition in R&B music that continues to this day: songs honoring black (and implicitly single) mothers for toiling thanklessly to provide for their children. (There are also soul tributes to dads, like The Winstons’ ‘Color Him Father,’ but they’re as comparatively limited as Father’s Day greeting cards are to Mother’s Day cards.)

Tributes to Mama are invariably touching, but they’re almost never fun. Reportedly inspired by Gamble’s mother Ruby, The Intruders’ sweet and heartwarming ode is also a rousing, rollicking funk tune with bright instrumentation and an infectious melody. The song honors Mama’s hard work and sacrifice — ‘The way she used to clean somebody else’s house just to buy me a new pair shoes’ — but it doesn’t sacrifice joy in favor of solemnity. It’s a great song to play on Mother’s Day, especially if your mama loves to dance … “

The track starts with an extended intro in a somewhat detuned C# major, featuring a luxuriously dense instrumentation and wordless backing vocals. The tune then suddenly falls into the very different territory of its sing-along A major chorus at 0:44 rather than leading off the lyrics with a verse. The keys alternate from there.

Gino Vannelli | The River Must Flow

After releasing some commercially disappointing albums which dug deeply into the prog world, Gino Vannelli “(the ‘Canadian Elvis’) and his brother Joe realized that their most favorable chance for gaining wider recognition rested in their emphasizing the more accessible, jazz-influenced R&B side of their sound, even if it meant alienating young fans who preferred their progressive rock angle,” (Jazz Music Archives). “The result was the platinum-selling Brother to Brother (1978).” The album featured one of Vannelli’s signature tunes, the breakthrough global hit “I Just Wanna Stop.”

The album “faithfully adhered to the high standards of aural fidelity that made his first five albums stand out from the herd, the musicianship is impeccable, and Joe’s continued insistence on utilizing every innovation in the field of synthesizers and keyboards … hadn’t waned one iota. Fortunately they didn’t abandon their love and respect for jazz when they jettisoned most of their prog wardrobe

… ‘The River Must Flow’ has a rhythmic contemporary pop groove that’s brightly peppered with lively percussion outbursts courtesy of Manuel Badrena, and Carlos Rios turns in another aggressive, jazzy guitar ride.” The track begins in Bb minor, shifting to Bb mixolydian as the chorus hits at 0:50. At 1:33, the tail end of the chorus serves as an intro to the next verse, reverting to Bb minor. The two keys continue to alternate from there.

Tommy Roe | Hooray for Hazel

“When recollecting those perpetual hit makers of the ‘60s, singer/songwriter Tommy Roe’s accomplishments are among the elite of the music industry,” (Classic Rock Music Writer). “Tommy Roe wrote and recorded six Top 10 hits between 1962 -1969, more than any other solo American artist, including eleven Top 40 hits, four certified gold singles, and two #1 Hits.

(Atlanta native) Tommy Roe is a member of the Hit Parade Hall of Fame, The Georgia Music Hall of Fame, and The Rockabilly Hall of Fame (and the) Iowa Rock ‘n’ Roll Music Association Hall of Fame. In 1966, Roe’s #8 Top 40 bubblegum hit ‘Sweet Pea’ swept the nation, followed by a British Invasion influence release ‘Hooray for Hazel,’ which reached #6 on Billboard’s Top 100.”

“Hooray for Hazel” begins in G major, but after a short drum break, a new verse begins in Ab major at 1:02. At 1:39, following another drum break, we’re back to the original key.

Pet Shop Boys | The Theatre

” … for years, they’ve been a very brilliant pop thing,” (BBC). “From the artwork, to their outlook, image, and literally quite good ability with tunes, they created an intelligence and panache that has seen them become one of the most successful duos of all time. Not for nothing did they once describe themselves as ‘The Smiths you can dance to.'”

” … the whole album (1993’s Very) sounds like it’s been double dipped in Tennant/Lowe’s jar of magical pop dust, and though it has lots of dancefloor-ready tunes” (Steve Pafford) ” … there are some weighty lyrics, with the coruscating anti-Conservative overtones of ‘The Theatre’ lambasting societal imbalances while mocking the bourgeoisie attending Pavarotti in the Park.”

“The Theatre” begins with an intro in Eb minor, but shifts at 0:38 to Eb major as the first verse begins. At 1:42, the chorus brings us back to the original key, but at 2:02, we’ve returned to Eb major for the next verse. The pattern continues from there. As mentioned in Pafford’s review, the sections in major key detail the glossy world of theatre-goers:

It’s another world here / the streets are gleaming / I was even dreaming / that they’re paved with gold

With the Pets’ trademark ease, the point of view of the minor-key choruses turn on a dime:

While you pretend not to notice / all the years we’ve been here / we’re the bums you step over / as you leave the theatre

Many thanks to longtime reader/listener and first-time contributor Mandy D. for this wonderful submission — her first!

Laura Fygi | Let There Be Love

“Although Dutch singer Laura Fygi initially garnered notice as a member of the disco group Centerfold, after setting out in 1992 as a solo performer she pursued a more jazz-inspired path with her debut effort Introducing Laura Fygi,” (Qobuz). “On subsequent efforts including 1993’s Bewitched and the following year’s The Lady Wants to Know, she collaborated with figures including Johnny Griffin, Toots Thielemans, and Clark Terry; in 1997, Fygi worked with one of her idols, the great composer Michel Legrand, on Watch What Happens.

Bewitched (1993) is a straight-ahead jazz date in which the singer is joined by a rhythm section, a string section, and some guests. She performs fresh and warm versions of a dozen songs, the majority of which are ballads. The performances are concise (only one tune exceeds four and a half minutes) and lightly swinging … Throughout, Fygi holds her own and sounds quite relaxed and musical, making these standards her own.”

“Let There Be Love” sets up housekeeping comfortably in E major, but shifts surprisingly to G major as the vocal makes its first entrance at 0:34; at 1:52, the tonality rises to Ab major partway through a relaxed piano feature. A huge list of artists have covered this 1940 standard (written by Lionel Rand with lyrics by Ian Grant), but here’s a sampling of the best known: Chris Botti, Jimmy Dorsey, Julie London, Nat King Cole, Oscar Peterson, Rosemary Clooney, Sammy Davis Jr., and Tony Bennett.

Eric Nam | Ooh Ooh

“Eric Nam might not be a household name to every pop fan in the Western World. And that’s kind of the point for him (as he talks) about his atypical start on the path to stardom, and what it means to navigate the K-Pop industry as an American,” (Rolling Stone Australia). “The Atlanta, US-born artist of Korean heritage found a voice in a country where he barely spoke the language (Korea), in a market that favors teenage groups and ballad-heavy rock bands. Then, he exported his sound to one of the most populous nations on Earth, and wound up on the cover of Rolling Stone India.

‘They wanted me to do power ballads and I can’t even do power ballads. Then I wanted to be in a group and [was told] I was too old. I was 23, and [they said] you’re way too old to be in a group,’ he says. ‘Then they said try to be in a rock band – rock bands don’t really work in Korea — or you could go and be a solo power balladeer … I can’t force you to think of me as not K-Pop. Whatever you want to think of me, just go for it, but I really want you to understand that there is a complexity within K-Pop where it’s not just these massive groups with massive numbers.'”

Nam’s track “Ooh Ooh” (2014) begins in G minor. Combining Korean and English lyrics, the tune shifts up to Ab minor 2:30 — just before a rap-driven bridge. Many thanks to our UAE-based contributor Ziyad for submitting this tune!