Tag: 1990s

Mariah Carey (feat. Boyz II Men) | One Sweet Day

Written and released at the height of the AIDS epidemic, “One Sweet Day” is about the sadness of losing loved ones, regret about taking them for granted, and faith that we can be reunited in heaven. “When you lose people that are close to you,” Carey said discussing the message of the song, “it changes your life and changes our perspective.”

Co-written by Boyz II Men and Carey, the song originally appeared on Carey’s 1995 album Daydream. Widely praised by critics, it was the most successful single ever on the Billboard chart up to that point, sitting at the number 1 spot for a record 16 weeks. “On ‘One Sweet Day,'” wrote New York Times music critic Stephen Holden, “the singer joins forces with Boyz II Men, those masters of pleading post-doo-wop vocal harmonies for a tender eulogy that suggests that the singers have been personally touched by the AIDS crisis.” In a readers poll conduct by Rolling Stone, the track was heralded as the Best Collaboration of All Time.

The song begins in Ab and modulates to B for the final chorus at 3:23.

Daryl Hall | Wildfire

Daryl Hall released BeforeAfter, a retrospective double album, this year. From Goldmine‘s coverage: “As Jeremy Holiday writes in the accompanying liner notes, ‘How paradoxical that Daryl Hall is most associated in the public imagination with a long-term musical partner. Because few artists are as individualistic, and individually complete … Yet Daryl Hall is also a brilliant collaborator, and, perhaps ironically, that quality is equally if not more apparent within his solo work. More than a chance to work alone, Hall’s individual pursuits have granted him license to be more eclectic in his choice of collaborators and to push further outside the expected bounds.’”

Hall’s 1993 solo outing Soul Alone paid homage to the singer’s early roots in Philly soul, including the Top 100 hit “I’m In a Philly Mood” and an adaptation of Marvin Gaye’s classic track “When Did you Stop Loving Me, When Did I Stop Loving You.”

“Wildfire” is one of many polished, harmonically rich tracks from the album, which leaves Hall and Oates’ 1980s pop sensibilities in the rearview mirror. This live version finds the quality of Hall’s vocals typically indistinguishable from the studio version. The track shifts up a whole step at 3:54.

Shania Twain | Any Man of Mine

“Any Man of Mine” was country singer Shania Twain’s first number one hit, selling over 500,000 copies and topping the country charts. Co-written with Twain’s then-husband Robert John “Mutt” Lange, the track was originally featured on the 1995 album The Woman In Me, and was nominated for Best Country Song and Best Female Country Performance at the 1996 Grammy Awards. “Another Canadian singer breaking national borders and stylistic barriers,” said the British magazine Music Week of the song. “This debut single from the new album features hubby Mutt Lange’s crunching but considered rock production (and vocals) plus enough country to catch the ear.”

Starting in Ab, the tune modulates up to Bb at 2:48.

Maurice Cahen | Impromptu #1 for Flute and Guitar

Guitarist and composer Maurice Cahen was born in Saint Germain en Laye, France. He began studying classical guitar while playing jazz in the Paris area. He traveled back and forth to Spain, where he discovered his love for traditional and contemporary Spanish music. In 1982, Maurice moved to the United States to study at Boston’s Berklee College of Music, followed by studies with Charlie Banacos and Dimitri Goryachev. Since then, he’s collaborated with various Boston and New York based musicians and has published original chamber music for flute and guitar, including the Impromptu #1.

Cahen has toured Israel with The Little Big Band and later toured Brazil with his own quartet and duo. Since then, Maurice has created numerous ensembles: Reflection, Brazilian Serenade, and various duos and trios featuring his original work, improvisation, etc. and exploring many styles, instrumentations, and genres (Classical, Latin, etc.) Maurice is currently studying North Indian Classical music and sitar technique with Jawwad Noor.

Impromptu #1 for flute and guitar, featuring Cahen on guitar and MotD co-curator Elise MacDonald on flute, begins in an overarching B minor and D major, but shifts to B major at 1:03. After touching on several other keys of the moment, we return to B minor and D major at 1:44.

Vox One | Shenandoah

The Boston-based five member a cappella group Vox One was founded in 1988 by a group of students who met at the Berklee College of Music (they went on to all serve as professors there.) The group’s arrangements combine elements of blues, funk, gospel, and folk; they have toured internationally and released five acclaimed albums.

Their cover of the traditional folk song “Shenandoah” appears on Say You Love Me, released in 1999. It moves through many tonal areas, beginning in Gb and ultimately landing in Bb at the end.

Susannah McCorkle | The Waters of March

“The Waters of March” (Águas de Março), written in 1972 by acclaimed Brazilian composer and father of bossa nova Antonio Carlos Jobim, was named the best Brazilian song ever composed in a poll of over 200 journalists from the country in 2001. The swirling, downward motion of the melody reflects the falling rain common in Brazil in March.

American jazz vocalist Susannah McCorkle covered the tune for her 1993 album From Bessie to Brazil, which peaked at #20 on the Billboard jazz chart. Starting in G, the track modulates up a half step to Ab at 2:43.

Marc Cohn | Walk Through This World

Asked in an interview with Goldmine about the origins of his music career, singer/songwriter/multi-instrumentalist Marc Cohn answered: “I didn’t have any other choice. I just didn’t have a choice. This is what connected with me from the time I was 7 or 8 years old, when I first heard The Beatles and The Stones, and Van Morrison and The Band. It wasn’t just that I liked it. I was obsessed with it. And I had an older brother who played piano and had a band that practiced in our basement, so I got to hear what Motown sounded like, and what Burt Bacharach sounded like, three feet away. My brother had a great ear, and he got most of the chords right, and it was just an obsession from the very beginning. And it was also an escape. And I had some ability. I could always sing, and I found I could write some words, too. It was just to be, I guess. I wouldn’t know what the hell else I’d do. It’s the thing that I was obsessed with for as long as I can remember — making records and writing songs.”

Best known for his top-40 hit “Walking in Memphis” (1991) from his platinum-selling eponymous debut album, Cohn won a Grammy for Best New Artist in 1992. Utica, NY’s Observer-Dispatch describes Cohn’s material: “emotionally stirring compositions, deeply personal yet universal, and his easy, husky voice [have] earned him a devoted following and a reputation as a musician’s musician.”

Built in C major overall, “Walk Through This World” (1993) features an instrumental break (2:35 -2:56) which modulates to Bb major before reverting to the original key.

Celine Dion | That’s The Way It Is

“That’s The Way It Is” is one of Dion’s biggest hits, and was heralded by Billboard as one of the greatest songs of 1999. “‘That’s The Way It Is’ doesn’t sound like it’s trying to be Britney Spears,” said the website Can’t Stop The Pop. “It sounds like the authentic evolution of a superstar – this is a Celine Dion song through and through – and it’s hard to imagine it being performed by anyone else.”

Dion has performed the song on the Rosie O’Donnell show, twice on the Today Show, as well as on multiple tours. Beginning in E major, the track dramatically modulates up a third to Ab coming out of the bridge at 2:50.

Thanks to MotD contributor Gus Connelly for this submission!

Mike Stern | What I Meant to Say

Voted Jazz Guitarist of the Year in 1993 by Guitar Player and one of DownBeat Magazine’s “75 Great Guitarists,” Mike Stern has released 20+ albums of his own as well as collaborating with Miles Davis, Blood Sweat and Tears, Steps Ahead, Michael Brecker, The Brecker Brothers, Jim Hall, and many others.

A lot of work and preparation have set the stage for Stern’s versatility. “‘There are so many different things to get into and study,’ (RivetingRiffs). ‘I check out a lot of horn players, a lot of saxophone players and trumpet players, and Miles, I check his stuff out. I write it out, I transcribe stuff like that. Piano players, like McCoy Tyner and Herbie, I try to get some of those ideas on the guitar … You can arrange everything to a certain point and you can rehearse it to a certain point, but it doesn’t all have to be Pro Tooled to death and everything lined up perfectly. It’s got to have some rough edges … with Miles, there was an edge, but I’ve always liked a kind of a vocal sound, like a horn. I use a little chorus and two amps to try and make it sound a little more vocal, like Jimi Hendrix, because he sang, and the blues guys I grew up with, BB King, Albert King, they bent the strings and sounded very vocal and I’ve always been a fan of that style. I want the guitar to sound more legato and more singing like. I want air in the sound.’”

Although Stern is well known for tunes that fit into a more uptempo rock/blues/funk/fusion vein, “What I Meant to Say,” from his Grammy-nominated 1994 album Is What It Is, embodies the legato, lyrical style he detailed in the interview. Verse 1 starts in Ab major; after a surprisingly smooth side step into D major at 0:34, we return to Ab major for verse 2 (0:42). A shift to E major hits at 1:21, then C major at 1:38, and a sustained solo section in Ab at 2:12. Stern re-visits many of the sections until the verse is re-stated in the original key at 4:25.

Linda Eder | Someone Like You

“Someone Like You” is from the 1990 musical Jekyll & Hyde, featuring a score by Frank Wildhorn and Leslie Bricusse. Eder originated the role of Lucy in her Broadway debut and was nominated for a Drama Desk award for her performance. She is now an acclaimed solo concert artist and has released 18 studio albums.

The song, which comes at the end of Act 1 as Lucy is questioning her love for Jekyll, modulates at 2:43.