*This is the fifth and final installment of a weeklong series featuring covers of the 1956 song “You Don’t Know Me”*
The Da Capo singers were a barbershop quartet based in DC; according to the group’s Facebook page, they disbanded in 2017. This performance of “You Don’t Know Me,” arranged by Jim Clancy, was recorded live in 2016 at the Barbershop Harmony Society International Convention, held in Nashville, Tennessee. It begins in D and modulates up to Eb at 2:34.
Brenna Whitaker, an L.A.-based vocalist, released her eponymous debut album in 2015, which features “Black and Gold” as the lead track. Whitaker counts Peggy Lee and Etta James among her influences, and her voice caught the attention of David Foster, who helped her develop her sound and produced her record.
Black and Gold, originally written and recorded in 2008 by Sam Sparro and Jesse Rogg, was a top-20 hit across Europe and was nominated for Best Dance Recording at the Grammy Awards. Whitaker’s cover begins in C minor and shifts up a half step to C# at 3:33.
“The Letter,” originally written and recorded (and a #1 hit) in 1967 by the American rock band The Box Tops, is featured on Hailey Reinhard’s 2017 album What’s That Sound?
Reinhart, whose career jumpstarted with her third-place finish in the 10th season of American Idol in 2010, said in an interview with Variety that the song “is such a cool, timeless tune. One of my earliest memories is crowding around my grandma’s piano listening to my Aunt Janice and Uncle Tom sing and play it. My uncle can sound just like Alex Chilton and the Box Tops with his guttural, sandpaper-like tone, while my aunt would harmonize with her soulful pipes. I thought it would be really neat to bring it up a couple of keys and give a woman’s take on the tune. It’s such a unique, upbeat song with gritty vocals, horns and sweeping strings. It’s become a pop standard to many and I’m so happy I got to put my own spin on it.”
Reinhart has performed and toured with Scott Bradlee’s Postmodern Jukebox, and is preparing to tour on her own later this year.
The track is in D minor and briefly shifts up to Gb major at 1:41 for the outro.
“Safer” is from the 2013 Broadway musical by Austin Winsberg (book), Alan Zachary and Michael Weiner (music and lyrics). The song comes about halfway through the show, as Casey is wondering if she is getting in her own way in looking for a relationship. The track, performed here by original cast member Krysta Rodriguez, begins in Ab and modulates up a half step to A at 2:25.
Sleeping At Last formed in 1999, originally including Ryan O’Neal (vocals, guitar), his brother Chad (drums) and Dan Perdue (bass). The Illinois-based group released four albums before Chad and Dan left and Ryan continued on his own.
O’Neal has released three compilations of covers, and “Rainbow Connection” appears on Volume 2, released in 2016. The song, written originally in 1979 by Paul Williams and Kenneth Ascher for The Muppets Movie, has been named one of the greatest movie songs of all time by the American Film Institute.
The track begins in D and modulates up to Eb at 2:01.
“I feel like I never touched the ground those three days,” John Mayer said in an interview with Rolling Stone, discussing his process for writing this tune. “Like ‘Let’s not worry about what this might draw from and be true to whatever it is.'”
Mayer also confirmed that the ex he is singing about in the lyric is Katy Perry, who he dated for four years, and claimed he spent more hours fine tuning the song than any other he has recorded.
The track is the lead single from the extended EP The Search for Everything: Wave 2, released in 2017. It begins in D and then detours briefly to Bb (and a new half-time feel) for the bridge after the second chorus at 1:47 before seamlessly returning to the chorus in the original key at 2:28.
Ra Ra Riot is a Syracuse-based indie rock band formed in 2006. They have released four studio albums and embarked on multiple US tours. “Angel, Please” is featured on their 2013 album Beta Love. The verses are set in E and the choruses modulate up a step to F#.
The Isley Brothers recorded “That Lady” twice. Songwriters Ronald, O’Kelly, and Rudolph Isley, the original family trio, released the first version in 1964.
Besides the sweet vocals, the prominent features of the song are the insistent cowbell (!), and the supporting horn riff towards the end.
But it was the Isleys’ 1973 version that made the song famous (Billboard #6 that year). By then, younger brother Ernie Isley had joined the group, and it’s his fuzzed-out guitar that’s the hook in that version. For that release, the lyrics were embellished, and the superior recording quality reflects the improved technology of the day. Neither of the Isleys’ versions featured a key change, however!
Donald Fagen (of Steely Dan), Michael McDonald (of the Doobie Brothers), and Boz Scaggs toured as The Dukes of September from 2010 to 2012, playing hits from their own bands and some of their own favorites, like the song here. Guitarist Jon Herington, who had recorded and toured with Steely Dan, manages to capture the flavor of Ernie Isley’s solo in this performance at Lincoln Center in 2012.
In the Dukes’ version, there’s a half-step modulation at 2:36 — although this shift seems bigger due to an interruption of the groove, some unexpected kicks, and flourishes from the horn section.
“By the 1960s, decades after Tin Pan Alley had moved from its original location on Manhattan’s West 28th Street and become a catchphrase for the popular music industry as a whole, writers such as the stellar team of Carole King and Gerry Goffin were mining the same escapist concepts, but updating them with a hint of postwar anxiety… (American Songwriter). ‘Up on the Roof,’ a hit for the Drifters in 1962, remains one of the most enduring songs of the latter-day Tin Pan Alley period (when writers labored at the Brill Building and other sites along Broadway), if only for its lushness of melody and lyrical sophistication. ‘At night the stars put on a show for free’ … In a manner similar to that of the first Tin Pan Alley writers, Goffin and King honor the tradition of quick recognition through tunefulness: hit songs, during the Brill Building era, needed to be heard just once to be remembered.
But ‘Up on the Roof’ also evinces a quiet sense of sadness, an urban dissatisfaction that moves beyond anything conceived by the rose-spectacled Tin Pan Alley writers of the early 20th century. Inspired, perhaps, by the realism of works such as Rebel Without a Cause and West Side Story, King and Goffin view modern Gotham as a place of chaos and potential strife: ‘people are just too much for me to face…I get away from the hustling crowd.’ For these city dwellers, escape is not just a goal but a necessity. The difference—from the perspective of songwriting technique—is that listeners are allowed to visualize the beauty of the flight ‘to the top of the stairs’ along with the reasons for making it … Hard, unsparing reality could be saved for Bob Dylan and the new generation of singer/songwriters who arrived in his wake.”
James Taylor’s 1979 album Flag featured his cover of the tune, which performed well as a top 40 single. Reflecting on his first years of work with King starting in 1970, Taylor remembered: ” … Carole and I found we spoke the same language” (The Guardian). “Not just that we were both musicians, but as if we shared a common ear, a parallel musical/emotional path. And we brought this out in one another, I believe.” It’s all the more powerful to hear Taylor and King collaborate on this live duo version of the tune (2010). The duet finds them shifting between her best key and his — while adding a surprising new dimension with the connective tissue. King begins in C major, followed by a shift to the F major (the same key as Taylor’s studio cover) at 1:15, then back to King’s C major at 2:22, then finally settling into F major at 2:45 for the balance of the tune.
for Shayna
For reference, here’s the 1962 original:
“Best Love Song” was released as the first single from American singer/rapper T-Pain’s 2011 album Revolver. It features singer Chris Brown and the R&B group Once Chance. It reached the 33 spot on the Billboard Hot 100 and was used in the premiere of the TV show Hart of Dixie.
Beginning in G, the track shifts up to A at 2:50.
modulationoftheday.home.blog 