This Christmas medley built around “Deck The Halls” was arranged by Karen Tweed (who also plays keys and sax in the video) and performed by the members of two extended families. It begins in F and modulates down to Db at 1:01. After wandering through a few different tonal areas with strains of “Good King Wenceslas” and “Jingle Bells,” we land in D at 2:45 where it stays through to the end.
Thanks to JB for this obscure find!
The Sussex Carol, a popular British tune, is performed here in a jazzy cover by accordionists Karen Sweet & Karen Tweed. It begins with a slow, rubato intro that stretches and embellishes the melody, eventually leading into the tune at 1:16. There is an unexpected downward modulation from G to Eb at 2:04.
Thanks to JB for this contribution!
The Boys of the Lough, a Scottish/Irish group specializing in Celtic music, released their first album in 1972. “That Night in Bethlehem” is included on their 1996 album, Midwinter Night’s Dream. The vocal verses are set in D minor, separated by instrumental interludes in A minor.
Thanks to MotD contributor JB for this selection.
“No hymn is identified with the Protestant Reformation more than Martin Luther’s ‘A Mighty Fortress,’ (UMCDiscipleship.org). Luther (1483-1546) left a body of congregational songs that both defined the Lutheran confessional tradition and became truly ecumenical in influence … In addition to skills as a writer, translator and preacher, Luther was an amateur musician. His thirty-seven hymns stand alongside his theological writings and his translation of the Bible into German as testaments of his creativity and intellectual ability.
United Methodist Hymnal editor Carlton R. Young summarizes well Luther’s contribution to hymnody: he ‘wrote several original hymns and melodies, revised many Latin hymns to German texts set to adaptations of plainsong and folk melodies, and encouraged the composition of new texts and rhythmic hymn melodies. His 37 hymns and paraphrase are cast in simple, plain, and sometimes rough phrases and striking metaphors, qualities that are for the most part lost in English translations.’ Over 100 English-language versions of Luther’s hymn exist.”
An excellent example of the virtual/online choir trend which grew exponentially during the worst of the COVID-19 pandemic, the contemporary arrangement for chorus, piano, brass, and percussion shifts up a whole step at 2:56.
“A veteran singer and composer during the classic period of Philly soul, Bunny Sigler was always capable of making striking, memorable soul/R&B material,”(AllMusic). “Debuting in the ’50s with his own group and as a solo performer, he reached the higher end of the R&B charts several times … Sigler actually earned much more acclaim for his work as a staff writer and producer. One of the major creative forces behind Philadelphia International’s dominance of ’70s soul, Sigler produced and wrote for dozens of major acts, including Harold Melvin & the Blue Notes, Lou Rawls, Patti LaBelle, the Whispers, Stephanie Mills, Billy Paul, Curtis Mayfield, and Carl Carlton.”
“Follow Your Heart” (1967) starts in G major, but with almost no emphasis on chord color — instead, a distinctive I major / flat-II major (sub V) vamp rings out beneath the verse’s melody. At 0:39, the chorus shifts to Bb major; the less exotic chord progression in this section brings the sound closer to a textbook 1960s pop/soul hit. The pattern continues from there.
“Bus Stop,” The Hollies’ 1966 hit, “was written by Graham Gouldman, who went on to form the band 10cc, best known for their hit ‘I’m Not In Love,’ (Songfacts). Gouldman was just 19 when he wrote ‘Bus Stop,” but he had already written three Yardbirds songs: ‘For Your Love,’ ‘Heart Full of Soul‘ and ‘Evil Hearted You.’
According to Gouldman, this song’s middle eight was one of the few instances in his songwriting career when he had a sudden inspiration rather than having to resort to hard toil. He explained to Mojo magazine in a 2011 interview: ‘You have to be working to make something happen. Occasionally you can wait for some magic, like McCartney waking up with ‘Yesterday’ already written in his mind, which does happen — it’s like a gift from your own subconscious. Or sometimes, it’s like a tap’s turned on.’ The middle eight section ‘all came to me in one gush, and I couldn’t wait to get home to try it. When that sort of thing happens, it’s really amazing. But that’s rare. Mostly, you have to do the slog.'” The tune reached #5 on the UK Singles chart and was also the band’s first US top ten hit, peaking at #5 on the Billboard charts in September 1966.
After a start in A minor, that lucky middle eight (0:35) shifts to E minor before reverting back to the A minor at 1:03. During that section, the melody shifts from a lower, smaller range to a more emphatic, higher one, while the melody’s compelling syncopation continues throughout. From 1:31 – 1:45, there’s an instrumental interlude which ends in a blink-and-you’ll-miss-it piccardy third before the transition into another middle eight.
“Who could possibly predict that a five-minute recording of a Russian romance song composed in the early 1900s with English lyrics written in the early ’60s, recorded in July 1968 by a green 17-year-old Welsh folk artist, produced by a Beatle, and arranged by a jazz nerd with unlikely instrumentation would result in a Number 2 on the Billboard charts? (MixOnline) Engineer Geoff Emerick says ‘Those Were the Days,’ produced by Paul McCartney and sung by artist Mary Hopkin, appealed to the public because of those unique qualities. ‘It was so different for the time,’ Emerick says. ‘Everyone loved it … Who knows about these things? We were always looking for something different, something spectacular every time we worked.’
(Arranger) Richard Hewson and McCartney spoke about what the producer had in mind for the arrangement, which only amounted to an instrument called the cymbalum. Interestingly, the percussion teacher with whom Hewson had been studying had a cymbalum. ‘It’s a Hungarian instrument that is like a piano without the lid on, hit with hammers,’ Hewson explains … As Emerick recalls, ‘I think we took a day out of the Beatles’ schedule so Paul could do this. We did it in Studio Number 3, Abbey Road.'”
The klezmer-style clarinet and rubato feel of the verse lend the tune its antique feel right off the bat, although the chorus picks up a consistent groove. At 3:12, Hopkin is joined by a children’s choir for a wordless trip through the chorus, followed by a brass-driven mixed-meter interlude which unexpectedly pushes us into the new key at 3:42.
“With her expressive soprano voice employing sudden alterations of volume and force, and her lyrical focus on Los Angeles street life, Rickie Lee Jones comes on like the love child of Laura Nyro and Tom Waits on her self-titled debut album (1979),” (AllMusic).
The personnel on the album leaned heavily towards players from the jazz genre, creating a sound that “follows the contours of Jones’ impressionistic stories about scuffling people on the streets and in the bars. There is an undertow of melancholy that becomes more overt toward the end, as the narrator’s friends and lovers clear out … But then, the romance of the street is easily replaced by its loneliness. Rickie Lee Jones is an astounding debut album that simultaneously sounds like a synthesis of many familiar styles and like nothing that anybody’s ever done before.”
“Last Chance Texaco” starts out with an apparent focus on auto maintenance — and its elevated importance as one’s location grows increasingly remote. But it later becomes clear that the focus is much broader, even though the automotive euphemisms endure throughout. Intermittent swelling and fading hints of a lonesome highway are evoked instrumentally during the verses, joined by Jones’ own multi-layered wordless backup vocal around 3:30. The easy 6/8 feel of the F# major chorus transitions to a poignant, restive chorus in E minor (first heard from 1:01 – 1:39). Make sure to check out the gorgeous lyrics, as Jones’ delivery varies hugely in both volume and clarity.
It’s her last chance
Her timing’s all wrong
Her last chance
She can’t idle this long
Her last chance
Turn her over and go
Pullin’ out of the last chance Texaco
The last chance
“The Capitols, an R&B doo-wop trio originally known as the Three Caps, was formed in Detroit in 1962,” (BlackPast.org). “… The group primarily recorded dance-themed songs in the Detroit area.” After struggling for several years, “in 1966 they released the top ten hit, ‘Cool Jerk.’ The song composed by Don Storball and recorded at Golden World Studios in Detroit with the legendary Motown house band, The Funk Brothers, became their biggest hit. It was the lead single from their first album, Dance the Cool Jerk, and peaked at #2 on the Billboard R&B and #7 on the Billboard Hot 100 Chart.
During their limited career, the Capitols released 6 albums and 19 singles … The group finished the decade in 1969 with the single ‘Soul Brother, Soul Sister’ that peaked at no. 42 on the Billboard R&B chart.” Very little additional information about this track is available online, but the trio’s signature sound is as clear here as it was on the smash hit single ‘Cool Jerk.”
After a short break in the groove, the tune shifts up a whole step at 1:26.
Leveret is a collaboration among three of England’s most prominent traditional folk musicians. From the band’s site: “Andy Cutting, Sam Sweeney and Rob Harbron are each regarded as exceptional performers and masters of their instruments. Together their performances combine consummate musicianship, compelling delivery and captivating spontaneity. Leveret’s music is not arranged in the conventional sense and instead they rely on mutual trust, listening and responding. Their playing is relaxed and natural, drawing audiences in and inviting them to share in music making that is truly spontaneous and yet deeply timeless … Leveret’s music is firmly rooted in the English tradition but sounds fresh and new” … the trio’s “trademark groove, energy and intuitive playing” lands them in the territory of “finest tunesmiths in the folk field.”
The subtleties of which instrument is leading and which are following, the seasoned communication among the member of the trio, and the rock-solid time throughout are among the most noticeable features of this live performance of “Cotillion” (2022). The smooth and subtly shifting textures among the melodeon, concertina, and fiddle are quite hypnotic, making the modulation up a fourth (2:40) all the more impactful.
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