Tag: 1990s

Niamh Kavanagh | In Your Eyes (Eurovision 1993)

The 65th annual Eurovision Song Contest was to have been held this spring in Rotterdam. Unfortunately, like so many other live performance events, the contest was cancelled due to the worldwide COVID-19 crisis — an unprecedented move in the history of the competition. Fortunately, most of the nations originally slated to send a representative to the competition have already confirmed that they will return in 2021.

1993’s winning song, “In Your Eyes,” was performed by vocalist Niamh Kavanagh, a Dublin native. The tune became the best-selling 1993 single in the Republic of Ireland and reached #24 on the UK Singles chart. Kavanagh is still active as a musical artist with her band, The Illegals. In a 2020 interview with the Irish Examiner, when asked about her top choice of unsung hero: “I’m going to say to musicians, not specific ones, but musicians in general…who strive to create music everyday, who won’t necessarily achieve fame or fortune…who work just to create and share something that affects pretty much everyone on the planet. Music is around us all of the time…”

The huge modulation at 2:21 comes quite late, after several edge-of-the-seat opportunities.

Whitney Houston | I Believe In You and Me

Originally released and recorded by Four Tops on their 1982 album One More Mountain, “I Believe In You and Me” was covered in 1996 by Whitney Houston and included the 1996 flick The Preacher’s Wife. Much more successful than the original, Houston’s rendition became a top 5 R&B hit in the US and topped many charts worldwide. The key change, in Whitney’s customary dramatic fashion, is at 2:52.

Sisqo | Thong Song

“Thong Song” was the second single released from American R&B/pop artist SisQó‘s 1999 debut studio album Unleash The Dragon. The track was nominated for four Grammys, and peaked at #1 on the Billboard Rhythmic Top 40 chart. It was a major success worldwide as well, reaching the top ten throughout European charts, number three in the UK, Netherlands, and Denmark, and #1 in New Zealand.

The key change at 3:16 comes out of nowhere, leading the listener to believe we’ve moved to a distant key, when it is in fact only a half-step away.

Owsley | Oh No the Radio

Owsley had a brief but distinguished career as a band member, solo artist, and session/touring musician. Sadly, he apparently took his own life at age 44 in 2010, but his short discography is memorable. AllMusic reports: “Alabama-born multi-instrumentalist Will Owsley followed a career path not unlike Sheryl Crow‘s, by backing up big mainstream pop artists, collecting the rewards and channeling them into his own solo work. Owsley plied his wares in the bands of Shania Twain and Amy Grant in the mid-’90s, then recorded his own material at home, and offered the finished product to record companies on a take-it-or-leave-it basis.” Owsley’s early-90s band, The Semantics, briefly featured a young Ben Folds on keyboards; AllMusic describes the two musicians’ “likemindedness” as “hard to miss.”

“Oh No the Radio” (1999) is an account of the hold that radio had on music fans’ lives during a time when that medium was the primary way that music reached our ears. The tune seems to describe a music fan’s love/hate relationship with a medium so omnipresent that going to a drive-in movie provides a welcome but brief respite.

The intro and verse, both in C# major, feature the guitar’s crunchy, relentless battery of eighth-note seventh chords in a I7 – bVII7 vamp. This rock-solid foundation frees up the bass to intermittently depart from covering the roots, going airborne and adding harmonic context from the rafters. The chorus shifts to C# minor (for the first time at 1:47), bringing with it a far smoother and lyrical feel, before returning to the original C# major.

In a Place of Miracles (from “Hunchback of Notre Dame”)

“In A Place of Miracles” is from, in your humble moderator’s opinion, Alan Menken‘s best score, The Hunchback of Notre Dame. The show, which premiered in Berlin in 1999 and became one of the city’s longest-running productions, has still not made its way to Broadway. But someday, in a place of miracles, it will. Key change at 1:37.

Andrea Bocelli | Con Te Partirò

James Corden kicked off #HomeFest on The Late Late Show last night, with Andrea Bocelli as one of the featured performers singing “Con Te Partirò.” Originally released in 1995 on Bocelli’s second studio album, the track has gone on to become one of the best-selling singles of all time and is considered his signature song. Key change at 4:40.

XTC | Wrapped In Grey

AllMusic.com calls XTC “one of the smartest — and catchiest — British pop bands to emerge from the Punk and New Wave explosion of the late ’70s. From the tense, jerky riffs of their early singles to the lushly arranged, meticulous pop of their later albums, XTC’s music has always been driven by hook-laden songwriting of guitarist Andy Partridge and bassist Colin Moulding.” In an interview with Popdose, Partridge described 1992’s “Wrapped in Grey” as “ersatz Bacharach” and one of the “perfect songs” of his career, feeling that he had “exorcised a lot of those kind of Lennon-and-McCartney, Bacharach-and-David, Brian Wilson-type ghosts out of my system by doing all that.”

Drenched with harmonic tensions from its opening, the tune starts in B minor, transitioning to F# major for the chorus from 1:19 – 1:57; the cycle then repeats. The “everything but the kitchen sink” arrangement of saloon-style piano, sweet strings, varied percussion, wide-ranging backing vocals, and a chaotic, meter-shifted tag at 3:31 make this waltz a true “Exhibit A” from the later output of this singular band.

Richard Marx | The Way She Loves Me

The lead track and second single from singer/songwriter Richard Marx‘s fourth album Paid Vacation (1994), “The Way She Loves Me,” reached the Top 20 on the Billboard Hot 100) and #3 on the Adult Contemporary charts. The track featured a jaw-dropping roster: Bill Champlin on organ, Leland Sklar on bass, and Lionel Richie and Luther Vandross (a longtime friend of Marx’s) on backing vocals.

Starting with a street corner-style a cappella arrangement in E major, the tune transitions to C# major before the groove even kicks in (0:18). From there, the expansive shuffle feel is in the driver’s seat, leading us to a shift to E major for the chorus (1:08), then back to C# major for the next verse; the pattern continues from there. At 4:01, the tune closes with the chorus, pared back to a sublimely blended a cappella sound.

Roxette | Crash! Boom! Bang!

Many thanks to MotD fan Chris Larkosh for this submission: Swedish duo Roxette released the single “Crash! Boom! Bang!” in 1994, part of an album of the same name. AllMusic liked the release’s vocals and songwriting, but felt that the album was “too pop for rock listeners and too rock for mid-’90s pop fans.” The LA Times, however, enjoyed the album’s “deliciously overwrought ballads” and the New York Times praised Marie Fredriksson, the lead vocalist, as the band’s “main asset … a singer with a sob in her voice.” Fredriksson passed away in late 2019 at the age of only 61.

Starting in C# minor with on-and-off shifts to B major, the tune transitions strongly to E minor for the bridge at 2:24, then back to C# minor again at 2:49.

Wheels of a Dream (from “Ragtime”)

“Wheels of a Dream” is from the 1996 musical “Ragtime,” based on the classic E.L. Doctorow novel, and with an epic score by Lynn Ahrens and Stephen Flaherty. Performed here by original cast members Brian Stokes Mitchell and Audra McDonald, the number features key changes at 1:33, 1:50, 1:59, 2:07, 2:20, and the big one at 2:30.