Galen

Blitzen Trapper | Don’t Let Me Run

“It has been a challenge keeping up with Portland, Oregon’s Blitzen Trapper over the past two decades,” (American Songwriter). “From their indie rock beginnings through a catalog that includes twisted folk, laid-back West Coast vibes, art-pop, country-tinged sounds, a rock opera and even a children’s album — all with a handful of label changes thrown in — it has been a head-spinning yet never boring ride.” Their album Holy Smokes Future Jokes was released in 2020.

Contributor Galen C., who unearthed this track for us, adds: “Blitzen Trapper has blended genres like rock, folk, blues, country, and psychedelia. Their genre bending is on full display with this song, ‘Don’t Let Me Run,’ which takes the listener for a spin as the song switches style and key from folk-rock to a slight jazz vibe.

At 2:00 the song switches from F major to A# minor for a few seconds; around 2:06 the key changes to G# minor; finally, at 2:11, there’s another shift to E minor, where it remains for the rest of the song.”

George Jones | Bartender’s Blues

This is Galen C.’s second MotD submission. Thanks, Galen!

“Bartender’s Blues” was originally written and performed by James Taylor in an attempt to imitate George Jones’ sound; it was released on Taylor’s 1977 abum JT. George Jones covered “Bartender’s Blues” a year later on his 1978 album of the same name, with Taylor on backup vocals.

In an interview with Billboard following Jones’ death, James Taylor said that he wrote this song as a tribute to George Jones, trying to create a song that was “…100 percent George Jones…” Jones’ version is unique from Taylor’s original in that Jones added a key change at the start of the final verse (2:32).

On a personal note: Since learning about Modulation of the Day, I’ve been listening specifically for key changes. I heard this song on Willy Nelson’s radio show while visiting my parents in Florida — and rushed to write it down while the song was still playing!

JT’s version, for reference:

The Beatles | And I Love Her

First time contributor Galen Cruess, in his submission of The Beatles’ 1964 hit “And I Love Her” from the album A Hard Day’s Night, writes: “It’s a unique acoustic song sung and written mostly by Paul McCartney that reflects his more ballad-like songs. Elements like George Harrison’s introductory riff, arpeggiated chords during the verses, and Ringo’s use of bongos and clavés give the song a different sound that is only heard in a few other Beatles songs, such as ‘Til There Was You’ and ‘Michelle.'”

“Before the soundtrack to (the movie) A Hard Day’s Night burst on the scene, Paul’s songwriting was mostly encompassed within the framework of writing ‘eyeball to eyeball’ (as Lennon would call it) with John in collaborative efforts,” (BeatlesBooks.com). “When he did faction off to write by himself, the songs would be rockers, such as ‘I Saw Her Standing There’ and ‘Can’t Buy Me Love.’ His reputation as a ‘balladeer’ began with the inclusion of ‘And I Love Her’ on the movie soundtrack album. This soft, acoustic sentimental love song stuck out like a sore thumb and made everyone take notice of what this long-haired British rock group was capable of.”

After a start in F# minor the key raises a half step to B minor at 1:30 with George Harrison’s solo on classical-style nylon string acoustic guitar. The tune ends on a striking major chord (piccardy third).