Category: Julianna

Gary Wright | Really Want to Know You

“Gary Wright, the spiritually minded singer-songwriter who helped modernize the sound of pop music with his pioneering use of synthesizers while crafting infectious and seemingly inescapable hits of the 1970s …” died last week at the age of 80. “… Along with his work with (George) Harrison, Mr. Wright was a session keyboardist for musicians like Harry Nilsson, B.B. King and Jerry Lee Lewis, and he continued to record solo albums,” (New York Times).

“Because he (was) the co-founder of U.K. progressive rockers Spooky Tooth and a close friend of George Harrison, many assume Gary Wright is English, but the performer was actually born in New Jersey,” (Rhino.com). “The Right Place was the singer-songwriter’s final album for Warner Brothers; the 1981 collection is sure to please ‘Dream Weaver’ fans. Like that iconic earlier hit, the album pairs Wright’s subtly philosophical lyrics with synthesizer-dominant arrangements that follow a strong groove (future Chicago drummer Tris Imboden keeps the beat here).”

“Really Wanna Know You” reached #16 in the US and #14 in Canada. It was his last charting hit in the US and was the 96th most popular tune in the US for the year, according to Billboard. The tune was co-written by Wright and Ali Thompson (who is the brother of Dougie Thompson, a member of the UK band Supertramp).

The tune starts in Db major, sounding at first like garden variety early-80s pop. After two verses and choruses, 1:09 brings a shift upwards to D minor for a more complex section that bears a closer resemblance to the more layered textures of his #2 hit “Dream Weaver” (1976). From 1:32-1:52, a mini-bridge takes us down a meandering path which settles us back into Db major. Going forward, the two keys continue to alternate.

Many thanks to our listener/reader from Brazil, Julianna A., for submitting this intriguing tune — her third contribution to MotD!

Bee Gees | Bodyguard

“The Bee Gees made a commercial comeback outside the U.S. with 1987’s E.S.P. and its single, ‘You Win Again,” (AllMusic). One (1989), on the other hand, had an improved chart showing in the U.S., while sales fell off elsewhere. The Bee Gees are remarkable pop craftsmen … say what you will, “One” and “House of Shame” are convincing pop music. ([the single] “One” was a Top Ten comeback hit that topped soft rock radio playlists.) This stuff works as pop for the same reason “I’ve Gotta Get a Message to You” and “You Should Be Dancing” did: the melodies are catchy, the hooks are deathless, and the vocals convey emotion over meaning. It may be weightless, but it’s polished.”

“‘I’m the last man standing. I’ll never be able to understand that as I’m the eldest,'” said Barry Gibb (SmoothRadio.com). All three of his brothers (twins Robin and Maurice of the Bee Gees, and much younger brother Andy) passed away between 1988 and 2012. “‘Nobody ever really know what the three of us felt about each other; only the three of us knew … It was such a unifying thing, the three of us became one person. We all had the same dream. That’s what I miss more than anything else.”

The disco grooves that propelled the Bee Gees to international superstardom were long gone by the time of this 1989 release, but “Bodyguard” features the fraternal vocal trio still firing on all cylinders. At 3:09, a whole-step modulation leads into a short guitar feature before the vocals return. Many thanks to Brazilian contributor Julianna for this submission!

Bee Gees | Fanny (Be Tender With My Love)

Released in 1975, “Fanny (Be Tender With My Love”) peaked at #12 on the United States Billboard Hot 100 chart and #2 in Canada. “According to Maurice Gibb, producer Quincy Jones called “Fanny” one of his favorite R&B songs of all time.” (SteveHoffman forums) Written by Barry, Robin, and Maurice Gibb and produced by Arif Mardin, the tune was recorded on the same day as “Jive Talkin’,” according to a 2001 interview in Billboard. Blue Weaver, keyboardist for the Bee Gees during this period, was influenced by Hall & Oates’ 1973 LP Abandoned Luncheonette: “The key change in ‘Fanny (Be Tender)’ was a complete rip-off from Abandoned Luncheonette (from ‘She’s Gone,’ which was also produced by Mardin). I only had it on tape, and I didn’t know that Arif produced it”.

The group did not perform “Fanny” live because of the layers of harmonies used to create the studio recording. In the same Billboard interview, Maurice Gibb explained: “We all love that one, but it’s just a bitch to sing.”

After starting with an intro and verse in E major, the tune shifts to its relative minor (C# minor) for the pre-chorus and chorus at 0:24. The pattern holds through verse 2 and chorus, followed by a bridge built around A major at 1:55 and another verse at 2:16. 3:00 and 3:05 bring two half-step modulatons.

Many thanks to our Brazilian follower (and first-time contributor) @julianna_arai for this submission!