Tag: 2000s

Steven Page | Wilted Rose

Here’s a submission from busy mod scout JB: The Vanity Project, a 2005 solo album by Barenaked Ladies‘ frontman Steven Page, featured the track “Wilted Rose.” Sputnikmusic describes Page’s solo material as compared to BNL’s: “more serious in its lyrical overtones and more experimental in approach. However, the catchy style of lyrical phrasing and light, head-bobbingly poppy choruses continue to carry to the light, honest voice of the other half of a generation.”

The verses are in minor, transitioning to major for the chorus (for the first time at 1:11) and then back to minor for the next verse (1:37).

Mama’s Gun | You Are the Music

From long-time neo-soul/r&b aficionado and first-time MotD contributor Aaron L. comes this effervescent, unapologetic love song, “You Are the Music,” from London r&b/neo-soul/pop quintet Mama’s Gun.

The album which featured today’s track, Routes to Riches (2009), was reviewed by Uncut magazine as “a masterclass in blue-eyed bubblegum soul, as heart-warmingly catchy as anything from Stevie Wonder’s ’70s purple patch.” The band has opened for fellow Brits, pop/funk legends Level 42, and American neo-soul artist/producer Raphael Saadiq.

Starting in A minor for the verse, the chorus transitions to compelling A major(ish) mix, then reverting to minor for the next verse. At 2:18, a breakdown/bridge pushes us into D minor, leading to a big modulation into Bb major(ish) for the remaining choruses.

Barry Manilow and Bette Midler | (I’d Like to Get You on a) Slow Boat to China

“(I’d Like to Get You on a) Slow Boat to China” is a Frank Loesser tune, originally published in 1948. It has been covered by pop artists ranging from Ella Fitzgerald to Miss Piggy. Today we feature Barry Manilow and Bette Midler in a 2005 performance on The Today Show. The easy rapport resulting from Barry and Bette’s longterm status as accompanist/music director and vocalist/touring artist (respectively) is clearly on display here. The first of two key changes is at 1:40, and it’s even announced!

The Kooks | Shine On

Our seasoned mod scout JB’s latest contribution: “Shine On,” by UK indie rock band The Kooks, was released in 2008. Deemed a “mid-tempo ’60s-tinged number” by AllMusic, the track reached only #63 in the UK Singles Chart but has nonetheless had plenty of staying power, receiving steady airplay over the years.

Starting in F# major, the tune transitions at the chorus (0:40) to G# major, then pivots back and forth throughout.

Show Off (from “The Drowsy Chaperone”)

From Kent P., a MotD fan who’s contributed before, comes the show-stopping production number “Show Off” from The Drowsy Chaperone, which was produced on Broadway in 2006.

Kent reports: “A hilarious number that makes fun of every old musical cliché by doing them. And of course, one such cliché is the key change! Here’s a video (with good audio quality but less good video quality) from the Tony Awards, with Sutton Foster performing the song. There’s a long intro to the actual song, which doesn’t start until 1:35; after many other key changes, the main modulation is around 4:35. It is probably the most self-referential modulation ever!”

Stevie Wonder | Sweetest Somebody I Know

Stevie Wonder‘s “Sweetest Somebody I Know” is from his 2005 album A Time to Love. From AllMusic’s album review: “Many of these songs, save for their warm and polished digital production values, could have easily found a home in Talking Book, Music of My Mind, or any of the other albums for which Wonder will forever be praised. In an age when the majority of R&B is about money, drugs, infidelity, or getting it on, Wonder‘s lyrics (especially during the love songs) recall the simplicity and innocence of early Motown without sounding trite.” The key change is at 3:01.

Garbage | Cup of Coffee

In a catalog replete with minor key paeans to misery, Garbage’s “Cup of Coffee” (2001) might be Exhibit A.

The Guardian calls Garbage’s sound “mongrel pop…(a) smelting-pot studio project cooked up from industrial remix sensibilities.” The focus on production and varying textures is certainly in the forefront here. The repeating triple eighth-note pattern which starts the tune continues throughout the relative hush of the verses — forming an uneven ground in combination with the 4/4 meter. Vocalist Shirley Manson unflinchingly increases the volume, intensity, and narrative on the choruses.

Starting in F# minor, the tune modulates up a whole step at 2:52 — uncharacteristically, during one of the song’s lowest-energy sections. This reverent fan-made video is patched together from various clips, but certainly captures the mood.

Hall + Oates | Ooh Child

“Ooh Child” was originally released as a single in 1970 by Five Stairsteps. The song’s uplifting, hopeful message led to its ranking of #402 on Rolling Stone’s list of the 500 Greatest Songs of All Time. Performed here by Hall & Oates for their 2004 release, Our Kind of Soul, the verses and chorus modulate back and forth throughout.