Dusty Springfield | Just One Smile

“Despite its status as a classic record, Dusty in Memphis (1969) had less than auspicious beginnings,” (BBC). “By 1968, Springfield had scored a string of chart successes with what she called ‘big ballady things’ and her decision to make an album in Memphis, home of hard edged R’n’B grooves, was viewed with puzzlement by many.” The distance from Springfield’s native UK to Memphis was large, both in miles and in sonic difference.

“Teaming up with the crack production/arrangement team of Jerry Wexler, Tom Dowd and Arif Mardin (responsible for Aretha Franklin’s Atlantic classics) also proved a bit much initially for Springfield, whose confidence in her vocal abilities was never very high … Springfield unsurprisingly resists any temptation to do an Aretha, instead relying on understatement, timing and delivery rather than vocal firepower. The songs (all by Brill building denizens) are all top notch, and Springfield’s interpretation of them is peerless … Mardin’s sensitive blend of Bacharach poise and Memphis funk provides the perfect frame for Dusty’s blue-eyed soul.”

Written by Randy Newman, “Just One Smile” was previously recorded by Gene Pitney. The tune starts in Eb minor, with plenty of harmonic sidesteps, a la the above mentioned Bachrachian influence. The tune then shifts to Bb major for the chorus (0:49 – 1:10) before reverting to the original key.

Mike Stern | I Know You

“One of the great jazz guitarists of his generation, Mike Stern has the unique ability to play with the finesse and lyricism of Jim Hall, the driving swing of Wes Montgomery, and the turbulent, overdriven attack of Jimi Hendrix,” (MikeStern.org) “Growing up in the Washington, D.C. area, Stern revered all three of those guitar immortals, along with such potent blues guitarists as Albert and B.B. King. Aspects of those seminal influences can be heard in his playing on the 18 recordings he has released as a leader or in his acclaimed sideman work for Miles Davis, Billy Cobham, the Brecker Brothers, Jaco Pastorius, Steps Ahead, David Sanborn, Blood, Sweat & Tears, Joe Henderson and the all-star Four Generations of Miles band.”

“These Times (2004) is Mike Stern’s debut on ESC after a long career on Atlantic that began with Upside Downside in 1986,” (JazzTimes). “It sees him consolidating a subtle change of direction. Where once he seemed to be attracted to the polar opposites of either the backbeat or straight ahead swing, with not much interesting him in between, here the accent is on world-music rhythms. To achieve this, Stern is ably assisted by bassist Richard Bona, whose voice is featured as much as his bass … (Bona) appeared on Stern’s Grammy-nominated Voices from 2001, from which These Times seems to have grown organically … banjo superstar Bela Fleck joins in on Bona’s falsetto ballad feature ‘I Know You.’”

After a start in G# minor, the tune features a restless and shifting section at 1:06 which pivots from phrase to phrase among several keys of the moment before a return to the original key at 1:31. At 2:48, a less complicated E major section holds sway until 3:20, when G# minor returns again. Previous sections are revisited for the balance of the tune.

Was (Not Was) | Spy in the House of Love

It’s difficult to sum up the 80s cult favorite band Was (Not Was), founded in 1979 in Detroit by David Weiss and Don Fagenson, who adopted the unlikely stage names David Was and Don Was. “‘Don and I started recording in the Pleistocene Era, with Fred Flintstone producing,’ says David Was in the promotional materials accompanying the release of punk-funk band’s retrospective compilation Pick of the Litter 1980 – 2010,” (Slant Magazine). “… (The band) fashioned some of the most cracked, amusing, disturbing non-sequiturs of 1980s no-wave. The band’s early work straddled the dividing line between post-disco and arty punk, resulting in three propulsive smart-stupid underground dance tracks …

Still, Was (Not Was) seemed adamant to avoid being pigeonholed as brainy outcasts from Boogie Wonderland, and their following few albums would prove them to be adept musical scavengers, true Warholian kitchen-sink artists. Be it recruiting Ozzy Osbourne to drone-rap ‘You can’t sue Buddha for libel’ over a electro-pop ditty … or inviting Mel Tormé to croon an elegant piano lounge neo-standard about a boy named Zaz who nearly choked to death one night in the park, Was (Not Was) made invention its own reward … though Robert Christgau sort of had the band’s number when he backhandedly complimented ‘It’s worth five minutes on David Letterman,’ you have to remember, that was when Letterman was really, really cool.”

1987’s “Spy in the House of Love” featured the Was “brothers” on bass and keys, allowing their hand-picked band to take center stage. The synth-heavy textures betray the tune’s late-80s vintage, but the track’s pop-funk sensibilities rule the day. Thoroughly in keeping with the band’s eclectic reputation, the track hit #21 on the UK Singles chart, #13 on the Irish pop chart, #16 on the Billboard Hot 100, and #77 on Billboard’s Hot R&B/HipHop chart. It even reached #1 on the US Dance Club chart, but somehow still takes a back seat to the band’s terminally goofy “Walk the Dinosaur.” Starting in G minor, the track shifts up a full step to A minor from 3:33 – 3:50. The tonality then reverts to the original key — not directly but rather via a compelling double chromatic step-down. Don’t listen to the lyrics too closely unless you’re thoroughly prepared — file them under R for “restraining order!”

Many thanks to our regular contributor Rob P. for this wonderful submission!

Starship | Jane

“Jane” (1979) is “a track that represents big changes in the history of a band renowned for them,” (UltimateClassicRock). “Formerly Jefferson Airplane, the group had lost vocalists Grace Slick and Marty Balin in the run-up to their fifth album, Freedom at Point Zero. They hired former Journey drummer Aynsley Dunbar and, up front, gambled on singer Mickey Thomas – who wasn’t even sure he wanted to be in a rock band.

… ‘Jane’ proved to be the perfect showcase for Thomas’ talents, pointing the band towards the stadium rock sound that would see them through the ‘80s as Starship … ” The track peaked at No. 14. It later appeared in the films Cocaine Bear and Wet Hot American Summer, and in the gaming world as part of Grand Theft Auto IV and Rock Band 4.

Built in E minor overall, the bridge (1:47 – 2:15) shifts to F# minor and also shifts from a hard-driving rock texture to a gentler reggae-inflected feel.

Tower of Power | Hark the Herald Angels Sing

The California-based R&B/funk band Tower of Power released their first holiday album, It’s Christmas, earlier this year. The record features covers of classic songs and two original tunes as well. “Hark The Herald Angels Sing,” the fourth track, begins in G and modulates up to A at 2:05

for King & Country (feat. Gabby Barrett) | Go Tell It On the Mountain

The Christian pop duo for King & Country, comprised of brothers Joel and Luke Smallbone, released their first holiday album, A Drummer Boy Christmas, in 2021. “Go Tell it On The Mountain” features guest vocalist Gabby Barrett. The track begins in Eb and modulates up to F at 2:18.

Clay Aiken | Do You Hear What I Hear

“I always just feel more at home in the music and the sounds of the ’60s and the ’70s, and there’s so much great Christmas music that was made in those times. That’s what this album especially is about, ” singer Clay Aiken said in an interview with NPR about his latest holiday album, Christmas Bells Are Ringing, which as released this year.

“Do You Hear What I Hear” begins in D and modulates up to E at 2:58. There is another abrupt shift to B at 3:25.

Kelly Clarkson | You For Christmas

“You For Christmas” is the featured single and lead track on the reissue/deluxe edition of Kelly Clarkson’s 2021 holiday album When Christmas Comes Around…. The song, written by Clarkson, Andrew Wyatt and Mark Ronson, hit the #5 spot on the Adult Contemporary chart, and Clarkson performed it on the season finale of The Voice earlier this month.

The song begins in A and modulates up to B at 2:09.