“Denis” was a Top 10 hit for doo-wop group Randy & The Rainbows in 1963 as “Denise.” Blondie, fronted by lead vocalist Debbie Harry, covered it in 1977 on Plastic Letters, its sophomore release.
MixOnline reports: “'(It) sounded like a hit from the minute they started playing it,’ engineer/producer Rob Freeman says. ‘Debbie’s voice was bubbly … and cut right through the rhythm tracks. She had that little growl that would come in every now and then.'” Harry “also played with the lyrics of the song. The band had changed their version from Denise to Denis, French for Dennis, so that Harry could sing ‘You’re my king’ and ‘I’m so lucky ’cause I found a boy like you’ in French.”
This punchy two-minute pop tune went to #2 in the UK, #1 in Belgium and the Netherlands, and top 20 in several other countries. The single didn’t perform well in the US, although the album sold very well. The band was well on its way to becoming “the most commercially successful band to emerge from the New York punk/new wave community of the late ’70s” (AllMusic). The half-step modulation is at 1:05.
According to the Grove Dictionary of Music, “Salomon Jadassohn was born to a Jewish family living in Breslau, the capital of the Prussian province of Silesia. This was a generation after the emancipation of the Jews in Central European German-speaking lands and during a time of relative tolerance.” Jadassohn attended Leipzig Conservatory in 1848, just a few years after it had been founded by Felix Mendelssohn. Jadassohn studied privately with pianist and composer Franz Liszt.
MusicWeb International reports that Jadassohn “later taught at the (Leipzig) Conservatory; his list of pupils reads like a Who’s Who of notable composers including Grieg, Delius and Busoni … As a composer he was prolific, having four symphonies, two piano concertos and a substantial assemblage of chamber works to his name.”
“Elegie,” a movement from the “Serenade for Flute and Piano,” Op. 108 (1890), straddles the line between G minor and Bb major throughout, then transitions to G major between 1:28 and 1:48.
AllMusic describes the cult status of UK band XTC: “(Its) lack of commercial success isn’t because their music isn’t accessible — their bright, occasionally melancholy melodies flow with more grace than most bands. It has more to do with the group constantly being out of step with the times. However, the band has left behind a remarkably rich and varied series of albums that make a convincing argument that XTC is the great lost pop band. ‘Senses Working Overtime’ (1981) showed … a bemusing, distinctive take on catchy guitar music. There’s enough hints of ringing sixties guitar and clever wordplay to keep Beatles obsessives happy, say, but this is definitely the sound of a band on its own path.”
The fact that XTC’s style has been categorized with terms as varied as pop, art rock, new wave, rock, post-punk, art-punk, and progressive pop suggests that promoting their music was anything but straightforward. Lead singer Andy Partridge also suffered from severe stage fright, leading the band to experience difficulties with touring. According to Record Collector, both the album (English Settlement) and the single were the band’s highest-charting UK successes, peaking at #5 and #10, respectively.
After a reserved intro and verse in G# minor, clanging guitars announce the pre-chorus at 0:36 — a resounding all-major progression centered around plenty of compound chords. At 0:48, an E major chorus arrives, later proclaiming that thechurchbells softly chime … hardly! Next up is a multi-section, multi-key bridge, which starts boisterously in A major at 2:35, charged with yet more compound chords and a schoolyard taunt of a vocal hook at 3:23. By 3:38, we’ve somehow been hoisted into F major — but making use of its rapidly expanding songcraft, XTC skillfully hides the tune’s seams.
Duncan Sheik is perhaps best known for his 1996 hit “Barely Breathing” and a cerebral, meticulous style AllMusic describes as “Adult Alternative.” He went on to write the music for the 2006 Broadway smash hit Spring Awakening. A few years later, Sheik continued his writing for musical theatre with Whisper House (2010), featuring a book and additional lyrics by Kyle Jarrow.
Playbill reports: “‘It’s set in and around an isolated lighthouse in Maine during World War II,’ Duncan Sheik says. ‘There’s a young boy named Christopher whose father was shot down over the Pacific by the Japanese. His distraught mother has been taken to a sanitarium, and he has been sent to live with his Aunt Lily, who is not so great with children, to use a bit of [an] understatement.’
Also at the lighthouse is a Japanese servant named Yasujiro. ‘Christopher,’ Sheik says, ‘is incredibly mistrustful of Yasujiro because his father was killed by the Japanese, and he begins to suspect that the servant may be a spy. In the middle of it all, it appears that the lighthouse may be haunted by ghosts — all of whom were members of a band playing on a ship that went down in 1912.’ … Because the ghosts’ ship sank in 1912, the Titanic comes to mind. Is there a connection? ‘Not really,’ Sheik says, and laughs. ‘I guarantee that Celine Dion will not be singing this material.'”
Set in an off-kilter G major where inverted voicings are more the rule than the exception, the chorus begins at 1:27 with a prominent E major chord, whose G# third degree (further underlined by G# in the bass) briefly but profoundly displaces the original key. This small harmonic collision provides energy to a track so ethereal that it might have otherwise floated away entirely.
Def Leppard released the 1987 album Hysteria after the 1983 album Pyromania boosted the band’s popularity throughout North America and Europe in the wake of several more modest album releases. Given the sustained heavy rotation of its other singles (“Photograph,” “Bringin’ On the Heartbreak,” “Pour Some Sugar on Me,” etc.), it’s surprising that “Love Bites” was the UK band’s only US #1 pop hit.
Songfacts details that “Def Leppard guitarist Phil Collen … said of this song, ‘It was just a standard rock ballad but it had something else going for it. Lyrically, it kind of painted a picture, and in a song you always want to do that, paint a picture. On a dark desert highway, the first line of Hotel California, great song, it just paints an image for you straight off the bat and that’s the sign of a really good song. It takes you right there.” The emphasis on multi-layered vocals and glossy textures is the work of producer Mutt Lange, who stole the show with his trademark arena-friendly sound — just as he did with his 1990s chart-topping production of his then-wife, country star Shania Twain.
Starting in F major, the pre-chorus shifts to Eb major at 1:07; verse 2 brings a return to F major at 1:59 — with both keys placing ample emphasis on their respective relative minors.
KNOWER, an enigmatic American duo with a sound somewhere between funk, pop, and electronica, is long on action and a bit short in the written bio department. Instead, its online presence features short posts of a few sentences, plenty of videos, and download links. Multi-instrumentalist, vocalist, and songwriter Louis Cole and vocalist and songwriter Genevieve Artadi met while studying jazz in Los Angeles. When they’re not collaborating, they often feature each other on solo projects. The duo has collaborated with Youtube titans Pomplamoose, performed with jazz/rock drummer Nate Wood and jazz/funk standard bearers Snarky Puppy, and opened for the Red Hot Chili Peppers. Knower was presented by legendary producer Quincy Jones as part of a LA-based concert series, whose program attempted to pin down the band’s sound as “an indescribable mix of virtuosic musicianship and pop sensibilities.”
“Gotta Be Another Way,” originally released by Knower in 2011, was arranged for big band for this 2019 performance with the WDR Big Band, whose story AllMusic summarizes: “A top European jazz group, Germany’s WDR Big Band is a sophisticated ensemble, featuring an evolving line-up of some of the country’s best musicians. A function of the German public broadcasting institution Westdeutscher Rundfunk Köln based in Cologne, the WDR Big Band are musical ambassadors charged with promoting jazz and culture at home and around the world … featuring such guest artists as Ron Carter, Paquito D’Rivera, Arturo Sandoval, and others.”
The tune’s original version blossoms out into a lushly orchestrated big band collaboration. But despite the added textures from the expanded orchestration, the frenetic groove remains at the center of both renditions. Starting in B minor underneath Artadi’s opening rap, there’s a change of key mid-phrase between 0:55 and 0:57 as Artadi begins the sung melody. After that, it’s more or less a question of returning to the B minor section or just holding onto your hat for the rest.
Born in 1947 into a military family stationed in Birmingham, Alabama and raised in North Carolina and Virginia, Emmylou Harris was valedictorian of her high school class. Though she won a drama scholarship to the University of North Carolina, she gravitated more and more towards music.
“Blessed with a crystalline voice, a remarkable gift for phrasing, and a restless creative spirit, few artists had as profound an impact on contemporary music as Emmylou Harris,” notes AllMusic. “She traveled a singular artistic path, proudly carrying the torch of ‘cosmic American music’ passed down by her mentor, Gram Parsons, which made a profound mark on both country and rock. Beginning as a folk singer in New York City, Harris released her first album in 1970.” Later in her career, she is “consistently iconoclastic, eclectic, or daring … Harris’ latter-day music remained as heartfelt, visionary, and vital as her earliest recordings.”
“Making Believe,” written by Jimmy Work, was first recorded by Kitty Wells in 1955. The song is on many lists of all-time top country music songs and has been covered by a varied list of artists, including Bob Dylan, Johnny Cash, Dolly Parton, and Merle Haggard — but also soul great Ray Charles, punk band Social Distortion, and Danish metal band Volbeat. Harris’ 1977 version hit #8 on the US Country charts and #1 in Canada. In 1978, the tune was honored by BMI as one of the 101 most award-winning Country songs. According to The Tennessean, songwriter Jimmy Work later lived a quiet blue collar life: he went to work for Goodyear Tire, then retired as a millwright. He passed away in 2018 at age 94.
A classic whole-step key change hits at the 1:53 mark.
“Perennially underrated” are the first words of the headline on AllMusic’s Utopia page. The band was a sustained 1970s/1980s side project for songwriter/producer/performer Todd Rundgren, rock’s consummate hyphenate. Starting as a prog rock outfit in the early 70s, Utopia “evolved into a shiny mainstream rock quartet … Rundgren retreated into the background as each of his bandmates contributed songs and lead vocals to the albums. By the early ’80s, Utopia had developed into a hit-making entity in their own right.” 1980’s “Set Me Free,” a tune written by Utopia bassist Kasim Sulton, led the band’s singles by reaching #27 on the US pop charts.
According to the Rundgren-centric TRConnection, Rundgren remembers that “… at a certain point in time, Utopia was performing live as well as any quartet in the world.” But the band’s fanbase was miles deep, without nearly enough breadth to match. Drummer Willie Wilcox added, “The fan/band relationship was still fine. But when you’re still playing the same halls after ten years, getting the same guarantees, and expenses are going up, there start to be repercussions.” In addition to the band’s fervent but oddly finite following, Utopia went through a series of record label woes resulting from corporate consolidations, internecine squabbling, and pure bad luck. By the mid-80s, Utopia finally decided to call it a day, though they never officially disbanded.
Given Utopia’s often cerebral focus, 1986’s “Monument” certainly might have been written in the abstract. But for plenty of the band’s fans, the tune measures the distance between the quartet’s democratic ideals and the cold realities of making ends meet. At their collective best, each member wrote songs, sang lead vocals, and covered notoriously complex backup vocal harmonies in addition to top-drawer instrumental playing. But as one of the band’s final releases, “Monument” strongly evokes the tone of elegiac anthem not for a person, but for a time and place: “you can’t go home again.”
I got the message in my mailbox / Nobody goes to church no more They’re closing down your little altar / They’ve locked the sanctuary door Don’t fight it / Who can say that you didn’t try Don’t fight it / Old soldiers never die …
Starting in G minor, the intro then jumps to a verse in Ab minor (0:36) as Sulton’s expressive tenor outlines a stark endgame, despite all efforts. At 0:58, the pre-chorus shifts to F minor; 1:10 brings a return to another verse and pre-chorus. The F major chorus (1:44 – 2:06) seemingly provides a reflection on the band’s unique vision, meticulous craft, and overarching legacy:
And if we don’t meet again I know somewhere a monument Stands in the name of our love …
Postscript:
Once the aftermath of its effective dissolution subsided, the band eventually reunited in Japan in the early 90s and a presented a full North American tour in 2018. Rundgren and Sulton continue to collaborate regularly. Demonstrating that the band was anything but a studio creation despite Rundgren’s famed production abilities, here’s a live 2018 version: the only change in the lineup is keyboardist/vocalist GLASYS in original keys player Roger Powell’s stead.
Saxophonist, composer, and former Tonight Show with Jay Leno bandleader Branford Marsalis has long been a proponent of musical egalitarianism. Born into one of the most prominent families of jazz artists in the US, he’s kept a foot in that style while also performing R&B, classical, rock, and more. From Marsalis’ website: ” … there will be those who insist on sorting even the most adventurous music into neat and compact categories. Fortunately, Branford Marsalis will always be around to shove his square pegs into their round little pigeonholes.” Marsalis has collaborated with Sting, the Grateful Dead, Bruce Hornsby, his brothers Wynton and Delfeayo and his father Ellis, Dizzy Gillespie, Bela Fleck, and dozens of others; won a Grammy in 1993 for Best Jazz Instrumental Performance, Individual or Group for his album I Heard You Twice the First Time; and released a trio album, Bloomington (1993), which was hailed as a landmark in contemporary jazz.
Using a name which served as a pseudonym for jazz saxophone great Cannonball Adderly when he was moonlighting on pop and R&B records in the 50s, Buckshot LeFonque “blends rock, hip-hop, jazz, reggae, and African elements. In summing up his thoughts on what has been one of the most musically diverse projects he has yet undertaken, Marsalis says, ‘We took some interesting left turns… which is what I expected.’ The members come from widely diverging backgrounds yet find common ground … ‘You might get on the tour bus one day and hear Italian opera; the next day you’re hearing hip-hop.’ Singer Frank McComb agrees. ‘Everybody gets to stretch out in his own way. Everybody is an artist in this band and not just a backer. We’re all loose, free and easy.'”
McComb, a solo artist in his own right, covers the vocals on “Phoenix,” a slow ballad from the band’s second album, Music Evolution (1997). The track ramps up its energy gradually — at first. With a seemingly devastating breakup in the rear view mirror, the protagonist unflinchingly revisits the pain, then gathers strength to move on. The transition in point of view is matched by a brightening of the tonality: starting in F# minor, a huge shift to to F# major declares itself at 4:46, leading to an ending on an unresolved yet hopeful IV/V.
Sabaton is a Swedish band comprised of “heavy metal military historians,” according to The Guardian, which describes a recent pre-COVID gig: “A vast crowd of people are singing raucously, raising large beer tankards skyward and grinning like they have just won the lottery. In this small and sweaty venue, a Swedish heavy metal band are opening their set with a song about the exploits of Field Marshall Rommel’s infamous 7th Panzer Division in the second world war. They follow it with a number about the horrors of Passchendaele in the first world war.
By the end of the night, we will have had exuberant hymns to Lawrence of Arabia, an all-female Soviet bomber squadron and the military genius King Gustavus Adolphus of Sweden. Everyone in the room, the vast majority of whom are wearing Sabaton shirts, sings along with absolutely everything. Meanwhile, the venue gently rocks from side to side, because we are on a ship in the middle of the Baltic Sea. Welcome to the 10th annual Sabaton Cruise: The Battleship, where passions for military history and Olympic-standard drinking collide.”
“To Hell and Back,” released in 2014, focuses on the Battle of Anzio (referenced in the chorus), part of the Italian Campaign of World War II fought in January 1944. Starting in D minor, the guitar solo (2:30 – 2:47) rises up into E minor before a reprise of the hook. At 3:06, the outro climbs up to F minor. Many thanks to first-time contributor Erik Lofgren for this submission!
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