Tag: 2010s

Postmodern Jukebox feat. Puddles Pity Party | Royals (Lorde cover)

Scott Bradlee, the primary force behind Postmodern Jukebox, remembers working with international clown phenom Puddles (of Puddles Pity Party) over a decade ago: “I first met Puddles when I was working as the music director at Sleep No More, the immersive Off-Broadway show in NYC … Puddles was one part Andy Kaufman, one part Tom Jones … Puddles wasn’t too familiar with Postmodern Jukebox or YouTube in general at the time, but he let me know in his own way that he was happy to contribute his talents.  

Initially, I had picked ‘Mirrors’ by Justin Timberlake (I imagined him singing to his reflection), but then a new contender began climbing the charts: “Royals” by the critically-acclaimed New Zealand singer/songwriter Lorde. It was almost too perfect: a song written by a 16 year old girl about being an outsider, sung by a giant sad clown.  There was irony in the title — sure — but beyond that, Puddles was the perfect character to convey this message; after all, he was the ultimate outsider … In some ways, Puddles was made for the modern Internet age. He’s a reflection of all of our loneliness and confusion in a world that sometimes seems to have grown increasingly lonely and confusing. At the same time, he reminds us that there is greatness inside of each of us, and we needn’t be afraid to show it off.”

Unlike Lorde’s original, Puddles/PMJ’s 2013 cover features a key change. After a short bridge at 2:55, a shift from Bb to C hits for the final chorus — all the more striking because it’s not quite complete, cutting off before the final line of lyrics and leaving an unresolved bVII chord ringing in our ears.

Eitan Kenner | Call Me Maybe

“Eitan Kenner is an award-winning keyboardist, composer, and music producer,” (Nord.com). “Born in Tel Aviv, Eitan began studying classical piano at the age of 6. After dropping out early from Jazz high school, he attended and graduated from Berklee College of Music before relocating to New York City. A versatile musician described as a musical wizard, Eitan has become one of the leading young forces both as a band leader of a highly praised genre-bending project named Kenner and as an in-demand sideman in the NYC Jazz scene.”

Kenner’s 2013 cover of the Carly Rae Jepsen’s 2011 hit “Call Me Maybe,” written by Jepsen, Josh Ramsay, and Tavish Crowe, is an intriguing instrumental expansion on the original track. Filmed on and around the Berklee College of Music campus in Boston, the video focuses on the lighter side of life at a college centered around music study. Starting in G major, the track goes through a few transformations along the way, including a prog rock interlude that transports the tonality up a whole step to A major at 2:23.

Free Nationals feat. Syd | Shibuya

“Stepping out of Anderson .Paak’s shadow would be a difficult feat for anyone,” (The Standard). “Thankfully for the Free Nationals — the LA prog-soul quartet who’ve backed the rapper and singer for years — they’re some of the most sublime musicians in the game, with a handy knack for laying down perfect hip-hop, R&B, and funk-inflected jams. Their long-teased self-titled debut features a host of guest stars, including .Paak himself, but sees them approach things at their own speed.”

… “Shibuya” (2019) boasts the talents of The Internet’s Syd on vocals,” (Stereogum). “It’s a smooth, sensual, characteristically groovy ode to staying in bed with your romantic partner on the weekend: “You should stay until Saturday / ‘Cause you ain’t gotta work tomorrow anyway / Do you babe / Sweet Saturdays/ I got you all to myself on Saturdays.”

Starting in B minor, “Shibuya” shifts to an alterating C major/Eb major vamp during the chorus, first heard between 0:41 – 1:02, before returning to the original key for the next verse.

Young Gun Silver Fox | Midnight in Richmond

“Soulful pop-rock combo Young Gun Silver Fox … the brainchild of British singer/musician Andy Platt and prolific London-based American expatriate producer and multi-instrumentalist Shawn Lee, the project first came together in 2012,” (CBS). “Both men already had well established careers, with Platt fronting the acclaimed soul-pop group Mamas Gun that he had co-founded, while Lee has put out dozens of albums and break records since he began his professional career in the ’90s … Drawn to each other by their mutual love for the warmth and melodicism of ’70s pop, soul and rock — Steely Dan, Hall & Oates, and latter-era Bill Withers were touchstones — the two talented musicians began working on original material … YGSF showcased their knack for crafting immaculately produced, breezy soul-pop confections driven by taut drum grooves and Fender Rhodes electric piano licks that wouldn’t have sounded out of place on AM radio during the late ’70s.”

The duo’s music is “timeless in one sense, while also referencing a very particular era,” (Grammy.com). “Over four albums, YGSF reflect ‘an apex of analog record-making’ that occurred between 1977-1982. ‘One of the things that was unusual about that whole West Coast scene was that you had these really talented people, but they all worked together in different capacities. One day they were working on a Michael Jackson record and another day they were doing their own record — or maybe sometimes the same day,’ says YGSF co-founder Shawn Lee, an American multi-instrumentalist with credits the length of some of his idols. ‘That’s why the music sounds so money, because everybody was at the height of their powers. Everybody had craft.'”

Released in 2018 on the album AM Waves, “Midnight in Richmond” starts in A major with a keyboard hook. 1:23 – 1:40 brings a short bridge in the closely-related key of B minor before the next chorus returns us to A major. Between 2:12 and 2:28, we head into another short bridge — this one in D major but leaning into its relative B minor at times. The sections alternate to the end as the hook continues to haunt the choruses.

Mama’s Gun | Cheap Hotel

“Cheap Hotel (2014) is UK band Mama’s Gun third album,” (Soul&Jazz&Funk). “The Andy Platts-fronted outfit debuted with Routes To Riches and its pleasing, soul-slanted pop won underground acclaim, though the set went to 3 in the Japanese album charts! The band’s second LP, The Life And Soul, was (as the name might imply) a much more soulful affair and one of the tracks, ‘Pots Of Gold’ won the affection of real soul fans worldwide. For Cheap Hotel, the band … have reunited with their first producer – Julian Simmons (who’s recently worked with Ed Sheeran and the Guillemots) and not surprisingly the overall sound of the set reverts back to a poppier flavor, albeit a very classy kind of pop with, yes, a touch of soul still about it.

Group leader Platts, we’re told, has eclectic tastes. He cites Motown and funk as amongst his formative influences, but he admits to a huge passion for ELO (Electric Light Orchestra) — and it’s that Brummie based outfit’s sound that dominates Cheap Hotel … Dip in almost anywhere here and you’ll be reminded of ELO – maybe garnished with a hint of the Beatles or the sounds of a little gentleman called Prince, but it’s almost all that slick, polished ELO pop sound … Cheap Hotel is a great pop album with just a touch of soul about it.”

The title track begins like a particularly funky day on Sesame Street, complete with a hook doubled between whistles and a tinny toy xylophone. But after the verse starts at 0:18, occasional extra beats and a Prince-like high lead vocal on the chorus confirm that this isn’t a theme from a children’s TV show. At 0:53, the second verse brings an upward half-step key change, but at 1:09, the tonality deflates back to the original key. It’s tempting to wait for another key change at some point during the tune, but other than some quick shifts during an instrumental break (1:29 – 1:53), it never arrives!

Audra McDonald | Make Someone Happy

Originally written by Jule Styne (music), Betty Comden and Adolph Green (lyrics) for the 1960 musical Do Re Mi, “Make Someone Happy” subsequently became a jazz standard, and has been recorded by dozens of singers. Singer/actress Audra McDonald concluded her latest studio album, Go Back Home, with the song. McDonald will be taking on the role of Mama Rose in the upcoming Broadway revival of Gypsy, opening next month.

The track begins in Eb and sneakily modulates up a half step to E at 2:24.

One Direction | Night Changes

**We are re-posting this tune today to recognize Liam Payne, who died in a tragic accident earlier this week. Our thoughts are with his family and loved ones. **

English/Irish boy band One Direction makes its MotD debut with the 2014 single “Night Changes.” Included on Four, the group’s fourth studio album, the track is notable for being the last to feature Zayn Malik before he left the group to pursue a solo career the following year. The tune begins in Ab major and modulates to Bb and 2:29.

John McCusker | Emma + Jamie’s Wedding

“Born in Bellshill, near Glasgow, John began playing whistle and fiddle as a child and joined the legendary folk outfit Battlefield Band aged 17,” (https://www.johnmccusker.co.uk/about/). During his 11 years with the band, he also released his first two solo recordings, 1995’s self-titled debut and 2000’s Yella Hoose. His most recent albums include Under One Sky and the reissues of Yella Hoose and Goodnight Ginger re-mastered deluxe.

John has long been renowned for his skill at transcending musical boundaries: striving to keep his music fresh and exciting, never leaving the past behind but always embracing new sonic adventures. As a live and studio guest he has shared stages with Paul Weller, Paolo Nutini, Teenage Fanclub, Graham Coxon and Eddi Reader. Since 2008, he has been a member of Mark Knopfler’s band, playing arenas around the world including a double bill with Bob Dylan at The Hollywood Bowl and 20 nights at the Royal Albert Hall.

…John was awarded the coveted BBC Radio 2 Musician of the Year in 2003 and also The Spirit of Scotland Award for music in 1999 and again in 2009. 2016 saw John receive the Good Tradition Award and perform with his band at the BBC Radio 2 Folk Awards at The Royal Albert Hall.”

After “Emma and Jamie’s Wedding” (2016) begins in G major, a second section (0:57) seems to alternate in emphasis between Bb major and its relative G minor. Then follows a return to G major. The pattern continues from there.