“What If It’s You,” written by Robert Ellis Orrall and Cathy Majeski, is the third track on American country singer Reba McEntire’s eponymous 1996 album. The album reached the #1 spot on the Billboard Country chart, and is McEntire’s first record to feature her regular touring band instead of session musicians.
The ballad begins in E and modulates up a step to F for the final chorus at 3:07.
“During the ’70s, Dan Hartman was a member of the Edgar Winter Group and was also in Johnny Winter’s band for a time,” (AllMusic). “Hartman was also a session musician who supported artists as diverse as Ian Hunter, Stevie Wonder, Todd Rundgren, and Ronnie Montrose. After releasing one undistinguished solo pop/rock album in 1976, he hit the big time with the fine disco album, Instant Replay,” which featured a hit single of the same name.
“Its follow-up, Relight My Fire, wasn’t as successful and Hartman retreated to the studio, producing .38 Special, the Average White Band, and James Brown; he (wrote and) was behind the board for Brown’s comeback (and final) hit, “Living in America,” in 1986. Hartman had one more hit in 1985 with the pop-soul “I Can Dream About You.” Again, his follow-ups weren’t successful and he returned to producing. He was preparing a new album at the time of his death in March of 1994.” Hartman had lived with HIV for several years when he passed away.
Certainly, Hartman’s was an iceberg of a career: it seems that only the top fraction was visible, with the rest of his work submerged beneath the surface as he worked with other artists. Neil Sedaka, a friend and a one-time neighbor, spoke of Hartman after his passing: “I loved working with him. He played, sang, wrote, mixed, mastered … he did it all!” (DanHartman.com). “I would call him a genius. I think of him often and smile!”
“The Love In Your Eyes,” one of Hartman’s final singles released posthumously on 1995’s Keep the Fire Burnin’, starts in D minor. At 0:55, the chorus shifts to Eb major. The pattern continues from there, other than a brief bridge which provides additional variety from 2:50-3:12. Hartman’s material was known for varied textures and complex grooves, but this track features a broader harmonic vocabulary than most. Hartman’s writing, phrasing, and string-embellished arrangement on this track often conjure up a tenor version of soul legend Barry White. “Wrapped in warm romance, [the] tune has a retro-soul quality (Billboard) … it shows that he was still among the best writers and producers in pop music.”
“To Be With You” was the second single released from the American rock band Mr. Big’s 1991 album Lean Into It. AllMusic critic Stephen Thomas Erlewine dubbed the song a “campfire singalong ballad,” with Billboard’s Larry Flick adding “headbangers get folky on this harmonious strummer.”
The track remained in the #1 spot on the Billboard Hot 100 for three weeks, and is the final track on the album. It begins in E and detours into G at 2:27 for one chorus before returning to E at 2:51.
“The ’80s found Al Green again connecting to pop and R&B audiences with his brand of charming and sometimes erotic gospel,” (AllMusic). “After signing with the independent A&M in 1985, Green seemed to grow a little tired of straight-ahead gospel fare and satisfied his yen for pop by way of covers or songs with ambiguous meanings.” … on the 1989 release I Get Joy, “Green sings about everything from an indifferent landlord and returned money to sweating out employment woes, making you believe every syllable.”
“Vocally, Green’s a first cousin of Smokey Robinson, a Motown tenor with vocal cords more supple than rubber bands,” (Deseret News). “And listening to him bob and weave, listeners may feel deja vu for the heyday of The Temptations and the Four Tops … But Green has built on the groundwork such groups laid down and turns the tradition into his own. And that’s no easy trick … The man also has a knack for writing songs that are subtle enough to work on both romantic and religious levels.”
Green’s athletic performance of “The Message Is Love” is from the short-lived late night all-music program Night Music (1988-90, initially known as Sunday Night), hosted by saxophonist David Sanborn. “The show never became ‘popular’ per se, but it presented high quality and eclectic music on network TV … in a way that seems unfathomable …” (NoahJazz). Backed by the stellar house band with Hiram Bullock (guitar), Marcus Miller (bass) and Omar Hakim (drums) at its center, Green’s vocal fireworks fully ignite in the second half of the tune. The short bridge (2:50 – 3:08) shifts the tune from the original C major to Ab Lydian before leading us back to the original key for a romp of a solo by Sanborn. Effectively rehearsed tunes, always performed 100% live in the studio, were the stock and trade of the much-missed Night Music.
“… Philadelphia (1993) gives us some star performances and was one of the first mainstream movies to address HIV/AIDS and homophobia with nuance and sensitivity,” (Collider.com). “The film was written by Ron Nyswaner and directed by Jonathan Demme.” From a review from Dan DeNicola: “Graced with splendid performances, this often stirring drama not only has its heart in the right place; it delivers a strong, convincing portrait, as well as a lesson about decency in a story aptly set in the City of Brotherly Love.”
Spoiler alert …
The film’s main character, attorney Andrew Beckett (Tom Hanks) succumbs to HIV after a hard fight not only for his life, but also for his rights after his law firm fired him due to his medical condition. But in the days before the drug AZT became available in the late 90s, HIV was nearly always a deadly disease. The film was quite a breakthrough and earned Hanks his first Oscar. “‘More people have stopped me on the street or come up to me in airplanes or sidled up to me in restaurants to talk about this movie than any other job I’ve done, and almost all of them have said something like, Thank you for doing it,’” (MentalFloss).
The film’s closing theme, Neil Young’s “Philadelphia” and the opening theme “Streets of Philadelphia” (Bruce Springsteen) were both nominated for Best Song Academy Awards in 1994; Springsteen’s track was the category’s winner. The short melody of Young’s track is a gently off-kilter seven measures of 4/4 featuring plenty of leisurely quarter-note triplets. The first and last iterations are in the same key, but there are many modulations among the repeated iterations in between.
“If there’s one explanation for why the late James Ingram didn’t get the respect he deserved in life for being one of the great soul singers of the ’80s, it’s probably that most of his signature hits… well, they weren’t totally his,” (Billboard). “Ingram broke through in 1981 with two top 20 Hot 100 hits rightly seen as classics of their period, ‘Just Once’ and ‘One Hundred Ways’ — but both were as a guest vocalist, on tracks that ended up on legendary producer Quincy Jones’ set The Dude. He was nominated for best new artist at the 1982 Grammys, before he’d ever even released a single of his own. Then, his first hit apart from Quincy was 1982’s ‘Baby, Come to Me,’ a duet with Qwest labelmate Patti Austin that rode a General Hospital placement all the way to No. 1 on the Hot 100 in early 1983 — but which ended up being housed on Austin’s Every Home Should Have One album, never appearing on an Ingram LP.”
He later went on to more chart success, but as a duet partner to a very rangy list of artists: Michael McDonald, Kenny Rogers, Kim Carnes, Linda Ronstadt, Barry White, Al B. Sure, El DeBarge, Dolly Parton, and Anita Baker. “All of this combined to make Ingram’s solo showcase ‘I Don’t Have the Heart’ one of the most unexpected Hot 100-topping singles of the early ’90s. ‘Heart’ was something of an anomaly, both within turn-of-the-’90s R&B and within Ingram’s own catalog. Melodically, the single was firmly in his wheelhouse — a massive showstopper co-written by pop-soul vets Allan Rich and Jud Friedman … It’s a torch song by proxy, a stunning expression of empathy … (for the track), Ingram (reached) all the way back to ’70s superproducer Thom Bell, one of the primary sonic architects of Philly Soul, via iconic hits for The Spinners, The Stylistics and The Delfonics.
… We may remember James Ingram better as a co-star than as a solo sensation, and that’s fine: Even just a compilation of his biggest collabs would be more impressive than a single disc of 90 percent of his peers’ solo greatest hits. But ‘I Don’t Have the Heart’ and the #1 chart success it briefly experienced remains a crucial part of Ingram’s legacy, showing how his voice and musical instincts were strong and bold enough to essentially materialize a memorable chart-topper out of nowhere — and giving him a signature hit that no one could claim as anyone’s but his …”
The inversion-heavy track, scored primarily for keyboard and strings, is built in D major overall. After the bridge (2:27 – 2:47), another iteration of the chorus at first leads us to believe that the tune will simply fade out without ever having transcended the borders set within the first few measures. But another run through the chorus at 3:10 finally brings percussion, electric guitar, Ingram’s trademark high wordless falsetto, and a crashing whole-step key change up to E major as the track kicks the power ballad afterburners into gear.
“In 1990, Joe Jackson had just signed a spiffy new deal with Virgin Records after spending 10 years and 11 albums under A&M,” (Popdose). “Many bands use the first album with a new label as an opportunity to make a fresh start and try new things (or, perhaps, sell out) … Jackson, however, had no interest in changing, diminishing returns be damned.”
After his 1982 album Night and Day, featuring the hit “Steppin’ Out,” was certified Gold in the UK, the US, and New Zealand and Platinum in Australia, Canada, and the Netherlands, it would likely have been difficult to achieve anything other than “diminishing returns.” But Jackson has seemed most interested in following his own muse rather than sustaining stardom, wrapping insightful and often cutting lyrics in musical styles ranging from edgy pop to jazz-inflected cabaret ballads, from textbook New Wave to uptempo salsa. “In his 1999 memoir A Cure for Gravity: A Musical Pilgrimage, Joe Jackson writes approvingly of George Gershwin as a musician who kept one foot in the popular realm and one in the classical realm of music,” (AllMusic). “Like Gershwin, Jackson possesses a restless musical imagination that has found him straddling musical genres unapologetically, disinclined to pick one style and stick to it.”
Although Jackson, a UK native, has often toured with smaller bands — at times even paring the instrumentation down to his trademark piano/bass/drums trio — this larger band format shows the effortless precision that Jackson is known for. The spirited “Jamie G.” features a late unprepared half-step modulation at 2:03.
The Moffats are a Canadian pop/rock country band comprised of 4 brothers: three triplets — Bob, Clint, and Dave — and Scott, who is a year older. In 1994, they became the youngest band to ever sing a major label recording contracts, and went on to release five studio albums.
“Miss You Like Crazy” is featured on their 1998 album Chapter I: A New Beginning. “Chapter 1 shows a lot of promise,” Allmusic wrote in their review of the record. “And the Moffatts give the term teen idol some credibility.”
The track begins in G and modulates up to A leading into the instrumental bridge at 2:22.
“Early on, critics griped about Mariah’s reliance on vocal acrobatics, which, they claimed, kept audiences at a remove from her actual songs,” (SlantMagazine.com). “Indeed, the title track of her sophomore effort, 1991’s Emotions, and the album’s bombastic uptempo centerpiece, ‘You’re So Cold,’ are lessons in fabulous excess, showcases for Mariah’s famous five octaves. But the album’s second single, ‘Can’t Let Go,’ is one of her most understated hits, her downcast verses floating ephemerally atop the song’s pointillistic percussion … With Emotions, she managed to strike a balance of soul and pop that’s not just technically impressive, but filled with undeniable, honest-to-god feeling.”
Co-written by Carey and Walter Afanasieff, “Can’t Let Go” was the second single from Emotions. Cashbox‘s review of the single included strong praise: “This time Carey is slowing down the pace from the first single ‘Emotions.’ In our opinion, this should have been the first single taken off the album. Her voice still has that crystal-clear sound that has hypnotized listeners of all sorts.” Although Carey’s first five American singles had reached #1 on the Billboard Hot 100, “Can’t Let Go” fell just short of that mark, reaching #2 and spending 17 weeks in the top 40 (Billboard).
Compared to much of the rest of her early material, where vocal fireworks were the rule, “Can’t Let Go” found Carey showing great restraint — showcasing her stratospheric whistle tone vocals only as a faint whisper during the intro (0:20 – 0:25). After several wistful verses and choruses, the bridge builds from its starting point (2:18), ascending through fluid layers of Carey’s own backing vocals to a shimmering half-step key change at 2:45. After one more chorus, the now wordless vocal of the outro cycles back to the melodic shape of the first line of the verse — suggesting that the sorrow from this unrequited love is nowhere near a resolution.
“Flute Talk Magazine states ‘Nelson Rangell creates the impression that anything is possible when he improvises,'” (AllAboutJazz). “Such praise is a confirmation of what contemporary jazz fans have known since the Denver-based saxophonist emerged in the late 80s: that Rangell is one of the most exciting and diverse performers in the genre, equally adept at soprano, alto, and tenor saxophone, as well as being a genuine virtuoso on flute and piccolo.
… Rangell first played flute at the age of 15. Within months he was studying both classical and jazz music at The Interlochen Arts Academy … (then) the New England Conservatory of Music in Boston.” After college, he worked in New York City with artists including Hiram Bullock, Jorge Dalto, Eric Gale, Richard Tee, Jaco Pastorius, David Sanborn, and Michael Brecker. “He also found occasional employment with the legendary Gil Evans Monday Night Orchestra and worked on many commercial jingle recording sessions.” Rangell has gone on to release 15 albums. While apparently no fan of smooth jazz, Stewart Mason of Tivo calls Rangell “a gifted soloist capable of twisting away from simple, melodic lines without losing the cozy accessibility that’s the calling card of this style of jazz.”
“Map of the Stars” (1992) gives Rangell a chance to showcase the piccolo at its most fluid and agile. The charming opening melody, in F major, shifts to a second section in F minor (0:48), back to major at 1:04, then minor again at 1:20, this time announced by a playful trill. By the time the groove-driven chorus arrives (1:44), we’ve slipped back into F major. At 2:13, the next verse begins with a guitar solo as the pattern continues — until 4:04, where a masterful extended solo by Rangell finishes out the tune.
for Marje
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