Stevie Wonder | Summer Soft

AfroPunk praises Stevie Wonder’s “Summer Soft” from his legendary 1976 album Songs In the Key of Life: ‘“You’ve been fooled by April, and he’s gone. Winter is gone,’ sings Stevie Wonder atop spiraling instruments. If you could create a song that encompasses the calm excitement of watching nature at the park — or on Netflix — that song would be Stevie Wonder’s ‘Summer Soft.’ It’s a cathartic epic about life and loss, using the changing seasons as a metaphorical backdrop, with Wonder’s voice sounding more pained with every passing verse, but … the production blooms.”

The track was one of so many singularly strong tunes on this celebrated album. From Pitchfork‘s review: “Songs in the Key of Life was the culmination of a historic period of creativity for Stevie Wonder. Its ambition and scope were unprecedented, and he never approached its caliber or impact again. Stevie Wonder’s legacy ranks among the most powerful in pop music, though his story remains elusive. His songwriting and his voice echo through virtually all R&B-related sounds that have followed him … yet there is no major biography, no documentary, nothing that presents the full sweep of the most dominant and defining artist of the 1970s. And make no mistake—it was an era of superstar acts and chart-busting albums, but no one was as universally loved, respected, and honored as he was.”

After the tune starts in F# major, the first chorus (1:02) shifts to B minor, but then drifts back to the initial key for the next verse. At 2:17, a half-step modulation hits not at the start of a new section, but rather on the last note of the pre-chorus, transitioning to B minor — a pattern that’s repeated. Thereafter, the lid blows off as the tune winds up more and more, though it’s difficult to pinpoint a specific apogee of the energy. At 3:32, the tonality of the final chorus stabilizes, leading us to an instrumental outro; there’s a fade in volume (in high 1970s fashion), but no lag in energy.

Astrud Gilberto | Stay

From Astrud Gilberto’s site: “Known as ‘The Girl from Ipanema’ and often referred to as ‘The Queen of Bossa Nova,’ (Gilberto) is an artist with roots firmly planted in Brazilian music. Her music has become an interesting combination of the sensual rhythms of Brazil and American Pop and Jazz. Born in the Northeast of Brazil in the state of Bahia, one of three sisters of a German father and a Brazilian mother, Astrud grew up in Rio de Janeiro. She immigrated to the United States in the early 1960s,” and has lived in the US since then.

“Astrud was first introduced to the world at large in 1964 through ‘The Girl From Ipanema,’ the Grammy-winning recording with Stan Getz and her then-husband João Gilberto (the father of Bossa Nova).” Since then, she’s worked with Chet Baker, Michael Brecker, George Michael, Etienne Daho, and many other artists. In 1992, she received the Latin Jazz USA Award for Lifetime Achievement; in 2002, she was inducted to the International Latin Music Hall of Fame. She was awarded a Lifetime Achievement Grammy Award by the Latin Recording Academy in 2008.

From a 1981 New York Times review: “(It’s) still very much the same – about 80 percent Brazilian, from the 1960s and 70s. And she is still puzzled by the fact that she is often characterized as a jazz singer. ‘What is a jazz singer? Somebody who improvises? But I don’t: I prefer simplicity. I’ve been told that my phrasing is jazz-influenced. My early albums were recorded for a jazz label, Verve. My first record was with Stan Getz. And I did an album with Gil Evans. So I guess that’s where the jazz idea comes from. But I’m not a pure jazz singer.’

Her 1967 tune “Stay,” recorded in English, modulates up by a half-step at 1:41 in the midst of a wonderful flute solo by Hubert Laws; the vocal returns at 1:46. The flute and vocal trade soloist status throughout the balance of the tune.

Brian David Gilbert (2Wins2) | Just One Day

For a guy who’s racked up five-million-plus views on a video entitled “I Read All 337 Books in Skyrim So You Don’t Have To” on the Youtube channel for the popular gaming site Polygon, Brian David Gilbert is orders of magnitude more musical than you’d have any right to expect. But then multiply that sentiment by many, many Polygon videos, combine it with an effortlessly musical one-man sendup of classic late 90s/early 2000s boy band cliches, and <scene>.

Members of the thankfully fictitious sibling boy band 2Winz2 apparently focus on drive-by insults as much as they do on their latest single. The 2021 release “Just One Day” suggests that quartet member Dale’s days in 2W2 might be numbered — and not by his choice. The lyrics are not to be missed.

At 2:30, the much-maligned Dale earnestly dives into the bridge: his moment in the sun has arrived. By 2:43, a key change kicks in — but is rendered almost completely inaudible by thoughtless use of a blender, followed by an intra-band quarrel that shows Dale’s future with the group is in serious question.

Many thanks to first-time contributor Alex D. for this hilarious tune!

Phony Ppl | Why iii Love the Moon

Phony Ppl, a Brooklyn-based band with a neo-soul/hiphop focus, grew out of the school friendship of vocalist Elbie Thrie and keyboardist Aja Grant. “Thrie and Grant met in middle school,” Rolling Stone reports. “’We found out we lived two blocks from each other. It was the first time my parents would let me out of the house by myself, to go to Elbie’s: Oh, he’ll be okay. They’re playing music.‘ … A lot of our influences were us listening to new music that was actually super old music from the Sixties and Seventies.’”

Members of the band delved into music study at Juilliard, Manhattan School of Music, the School of Rock, and learning on the fly in musical theatre pit bands. Rolling Stone continues: “’Why iii Love the Moon,’ a hypnotic ballad on Yesterday’s Tomorrow (2015) combining vintage Earth, Wind and Fire with Kaya-style Bob Marley, that began as a voice memo … ‘Aja had the chords; I had the concept. We actually put the first time we played it on the record. That’s what you hear, us testing everything.’ Thrie smiles. ‘We tried to make it sound more shitty. But that’s the original tape.’”

After a dreamy intro, the track starts in earnest in Eb minor at 0:26. From 3:34 – 3:55, a trippy bridge shifts gears and airdrops us into B minor. The casually improvised percussion hints at the the tune’s homegrown origins as a voice memo. At 4:36, we’re suddenly back in Eb for the duration.

Pretenders | Didn’t Want to Be This Lonely

The single “Didn’t Want to Be This Lonely” was released in the spring of 2020 as part of the album Hate For Sale, Pretenders’ eleventh studio album. Frontwoman and songwriter Chrissie Hynde co-wrote tracks for the album with guitarist James Walbourne, a first for the Hynde: “I wanted to write with him since day one. James is especially sought after and has recorded with Jerry Lee Lewis, Dave Gahan, and The Rails, to name but a few,” Rockpit reports. The comic book-inspired video for the tune was produced entirely during COVID lockdown.

Starting in C major, the tune features not only the usual I/IV/V rock chords, but also plenty of bVIIs. That addition becomes a fulcrum — the V of the new key — when the tune jumps up to Eb major at 2:02.

Many thanks to our distinguished frequent contributor JB for this submission!

Moody Joody | Lockeland

Alternative pop/rock duo Moody Joody might not be mainstream, but their new and unique sound caught the attention of Spotify, which placed the 2021 single “Lockeland” on one of its most followed curated indie-pop playlists. This intense focus put the track on top of Moody Joody’s profile as the duo’s most streamed song, and rightfully so! 

The chill-but-driven groove doesn’t align with the flamboyance typical of most key-changing tracks. But the “driving with the windows down” adventure vibes of the song definitely warrant the beautifully executed key change at 2:41. When all the instruments drop out and the vocals make a surprise a cappella entrance — an energizing whole-step up — you can feel the wind in your hair. 

Franz Joseph Haydn | String Quartet in F major, Op. 50 #5, 3rd movement

From James MacKay’s paper “Another Look at Chromatic Third-Related Key Relationships in Late Haydn: Parallel Keys and Remote Modulation in Selected String Quartet Minuets” in the journal HAYDN: Online Journal of the Haydn Society of North America 8.2 (Fall 2018): ” … third-related shifts in Haydn’s instrumental music occur earlier than 1790, especially in his string quartet Minuet-Trio movements, often built around a parallel major-parallel minor pairing of keys and their relatives. For instance, in Haydn’s String Quartet in F major, Op.50 no. 5 (Der Traum), third movement, Haydn effects a chromatic third modulation in two stages: touching briefly upon the parallel key (f minor) in the trio, then moving immediately to its relative major, A-flat (i.e. flat III of F major).”

Haydn, who lived from 1732-1809, wrote this string quartet (one of his six “Prussian” quartets dedicated to King Frederick William II of Prussia) in 1787. A nephew of Frederick the Great, Frederick William was one of the most notable patrons of music in eighteenth-century Germany and also an avid amateur cellist, according to the classical record label Hyperion.

This performance is by the Festetics Quartet, known for performing on period instruments. The third movement of this complete four-movement video begins at the 11:43 mark. At 13:20, the shift to Ab major is complete (note: the tuning in this performance is a far cry from A440!)

So Much Better (from “Legally Blonde”)

We conclude our week-long series on Legally Blonde with “So Much Better,” the Act 1 finale. After breaking up with Elle, Warner proposes to his new girlfriend Vivienne right in front of Elle, leaving her devastated. Immediately after, however, Professor Callahan posts the list of who has been selected for his highly coveted internship positions, and Elle makes the cut. She realizes that life is about more than just one guy, and she has more potential than she previously knew. Key changes at 0:38, 0:51, 1:03, 1:29, 1:41, 2:04, 2:28, 2:37, and 2:50.

Legally Blonde (from “Legally Blonde”)

The fourth installment in our week-long series on Legally Blonde:

The title song from the musical comes in Act 2. After Elle makes a discovery in the courtroom that is crucial to helping Callahan’s case defending Brook Windham, he asks the rest of his defense team to leave and forcibly kisses Elle; she responds by slapping him, and Callahan fires her from the case. Elle starts to question if Callahan ever really respected her for her intellect and whether she should stay at Harvard. Key changes at 0:49, 1:06, 1:23, 2:07, 2:23, and 2:42.