Tag: 2020s

Saint Motel | Save Me

“Saint Motel are a Brit-indie band trapped in the bodies of four svelte, stylish Californians,” (The Guardian). “Although when we say Brit-indie – and add that they specialise in Brit-indie-ish anthems – we’re not talking Kaiser Chiefs or Oasis as influences but rather groups like Pulp, Divine Comedy and the long-forgotten My Life Story, with a soupçon of the Smiths: indie with some glam pizzazz featuring a singer not averse to flamboyance, a suave croon and lyrics that verge on the literary.

We’re wondering how we missed them. Each of their songs announces itself with a flourish and no little élan, and there’s a light sprinkling of Caribbean rhythms, tropical flavours and lounge-jazziness throughout … their music has featured in HBO series Boardwalk Empire as well as an advert for Dewars Scotch Whiskey. Where were we? Truly, we are ashamed. To make amends, some facts: the band met in film school in Southern California, they recently played something called a Zombie Prom, and they write about everything from plastic surgery to ‘the taboo bonds of friendship within the Heaven’s Gate cult’. As frontman A/J Jackson says: ‘Many of the songs have various levels of subtext that I hope the listener will decipher with repeated listens.'”

“From 2007 to 2021, dream-pop band Saint Motel has been making listeners move and groove to the soothing beats of their soft funk, both in person and on TikTok, where 2014 hit “My Type” went viral last year,” (Riff Magazine). “While their first album in 2012 didn’t grant them much popularity, “My Type” worked its way up various Top 40 charts around the world … An album, saintmotelvision, followed in 2016, and Saint Motel is now onto its third, The Original Motion Picture Soundtrack.” The video for each of the album’s tracks has the look and feel of being part of a film soundtrack, but in this case the film doesn’t exist. After an ethereal intro and a substantial pause, “Save Me” (2021) begins in earnest at 0:28 in C major, then shifts into C minor for a brief bridge from 3:10 – 3:28.

Gentle Giant | Proclamation (fan version)

“The Power and the Glory (1974) is, like Three Friends before it, a concept album featuring intricately woven arrangements … ” (Progrography.com). “You’ll also find quite a few ‘classic’ Gentle Giant songs … (including ‘Proclamation’) … Alternating between soft and harsh sounds, it’s an album of dreams and nightmares.

At this stage, there’s no denying that the band’s music had become, if not formulaic, at least idiosyncratic. There are the dizzying arrangements, classical excursions, heady subject matter and heavy rock all intertwined into four- and six-minute musical puzzles that are unique to Gentle Giant. I’d recommend you start with Octopus and Three Friends first, as they arrived earlier and achieved the same (or higher) highs … As the years have shown, albums about corrupt, power-hungry politicians are never out of fashion for long.”

The tune is built in D dorian until 2:07, when a huge unprepared shift to a Ab major chord drops like an anvil. But it’s not until 2:16 that we settle properly into the new key of F dorian. A few more harmonic shifts follow, but are often dwarfed by unexpected changes in meter, sudden instrumental/textural changes, imposing walls of tightly clustered vocal parts (3:25, for example), etc. As the extensive end credits of the video show, it took scores of fans of the storied UK-based prog rock band to create a cover version (2020) of this densely complex track!

From the video’s description: “This video marks the first time in 40 years that all members of Gentle Giant appear on screen and play together in a ‘virtual reunion’. Some notable contributors also make an appearance such as Jakko Jakszyk of King Crimson, Billy Sherwood of Yes, E.L.O. bassist Lee Pomeroy, Dan Reed of the Dan Reed Network, Richard Hilton of Chic, and Mikey Heppner of Priestess.”

Ozzy Osbourne | Ordinary Man (feat. Elton John)

“Ozzy Osbourne … helped forge the sound that became known as heavy metal – and on top of that, the frontman practically invented the image of the wild rock star,” (BBC). “Ozzy’s band Black Sabbath made an indelible mark on music by pioneering heavy metal – and was hailed as a major influence by a range of artists who followed. With his wailing vocal style and ‘prince of darkness’ reputation, Ozzy led the band to become global stars – before he was fired, mainly because of his increasing dependency on drugs and alcohol. But he carved out a successful solo career before reuniting with the band, as well as becoming the unlikely star of a hit TV reality show which showcased his erratic domestic life.

He was born John Michael Osbourne in the Aston area of Birmingham (in) 1948. His father Jack was a toolmaker, while his mother Lillian worked at the Lucas factory, which made car components.” He seemed destined for a life at hard labor, starting his work life in a slaughterhouse. “What saved Ozzy was music: the sound of the Beatles singing ‘She Loves You’ out of a crackly transistor radio transformed his life. ‘It was such an incredible explosion of happiness and hope,’ he later told writer Bryan Appleyard. ‘I used to dream – wouldn’t it be great if Paul McCartney married my sister.'”

After layer upon layer of medical issues accumulated for Osbourne over the past few years, ” … he was determined to bow out of the public eye with a customary bang. He, (wife) Sharon, and his old Black Sabbath bandmates lined up a farewell concert at Villa Park football stadium, a stone’s throw from his childhood home, which took place just over two weeks ago. An array of fellow rock legends – including Metallica, Guns N’ Roses and Aerosmith’s Steven Tyler – lined up to perform and pay homage to him and Sabbath’s influence. Osbourne himself performed seated because of his mobility problems, but managed to recapture his old magic – belting out his hits while clapping, waving his arms and pulling wild-eyed looks, just like old times. ‘I’m proud of what I’ve achieved with my life,’ he once told an interviewer. ‘You couldn’t have written my life story if you’d been the best writer in the world.'”

Osbourne’s 2020 release “Ordinary Man” found the artist looking back both fondly and wistfully a full five years before his death today at the age of 76. With an assist by Elton John on piano and vocals, the track also features Slash on guitar, Duff McKagan on bass (both of Guns N’ Roses), and Chad Smith of the Red Hot Chili Peppers on drums. The tune was co-written by John Osbourne (Ozzy), Elton John, Andrew Watt (who also produced the track), Chad Smith, Duff McKagan, and Billy Walsh. This classic power ballad, lushly produced relative to Osbourne’s catalog overall, starts in E major. There’s a shift to B mixolydian for the chorus, first heard at 1:22 – 2:00. The pattern continues from there. Ozzy watches the compilation of photos and videos right along with us, making it a poignant experience for even the most casual of his fans.

Chad Price | Somehow, Someway

” … ‘Somehow, Someway’ … is soulful, uplifting and hopeful, impassioned and achingly expressive; this song aches in all the right ways – all because of Price’s radiant voice, his soul-stirring lyrics, magnificent instrumental work, and the talent he’s surrounded himself with.

‘(It’s) a song that feels confessional to me,’ Price tells Atwood Magazine. ‘It feels like me confessing that I often feel lost, out of control, at the end of my rope, and like an imposter. It feels uncomfortable, because I really do struggle with opening up about my emotions and being vulnerable. But the weight we carry around feels a lot lighter when we become strong enough to face our darkness/demons/trauma…whatever you choose to call it … head on. When we actually look at it, it can become less scary. That’s what this song is to me. It’s about freeing myself from myself, realizing that I am not broken, and to continue moving forward no matter what.”

After a gentle intro apparently played on a long-untuned piano, the 2022 track begins in earnest at 0:55. Following a grand pause, the tune returns a half-step higher at 3:36. The track has won wide acclaim for Price, a Toronto native.

Ben Folds | It’s the Small Things, Charlie Brown

“Up until this February, alt-pop veteran Ben Folds was an artistic advisor to the National Symphony Orchestra.” (Stereogum). “When Donald Trump took over the Kennedy Center, Folds resigned his post, writing, ‘Not for me.’ Fair enough! It’s not like Folds wasn’t making his own music when he had that job; he released the Christmas album Sleigher last year. Now, Folds has another new project ready to go. He’s co-written the song for Snoopy Presents: A Summer Musical, a new special coming out on AppleTV+ this summer.

According to an Apple press release, the forthcoming 40-minute special Snoopy Presents: A Summer Musical is ‘the first Peanuts musical in 35 years.’ It’s about the Peanuts gang going to summer camp. Jeff Morrow, Ben Folds collaborator on the songs, has scored a number of more-recent Peanuts specials, as well as films like Disney’s live-action Snow White and The Little Mermaid remakes. Ben Folds, a regular Schroeder, has been in the Peanuts system before; he wrote and performed the theme to the 2022 AppleTV+ special It’s The Small Things, Charlie Brown.” The production of Snoopy Presents: A Summer Musical will debut 7/18 on AppleTV+.

“It’s the Small Things, Charlie Brown” finds Folds indeed channeling the warmup moves of the Peanuts franchise’s resident pianist before he digs into the tune. Starting in G major, the track features Folds’ trademark vocals-forward sound. After the quieter texture of the bridge starts at 2:20, there’s a late key change up a whole step to A major at 2:50.

Kirk Franklin | Melodies From Heaven

“Kirk Franklin, set up with his band and choir in a corner of Uncle Jessie’s Kitchen, makes a declaration. ‘I know you’re at home right now, in your draws, listening to some Jesus music. It’s ok. Jesus loves you in your draws!’ The Arlington, Texas studio, named after a long time close friend, features a large photo of the iconic ‘I AM A MAN’ protest signs from the 1968 Memphis Sanitation Strike on the wall,” (NPR Music). “The jubilant energy that Franklin and company emit, juxtaposed with a visual reminder of the strife that Black people have endured, is illustrative of the importance of gospel music in the Black community.

For nearly 30 years, Franklin has been widely regarded for revolutionizing gospel. He incorporated secular music, particularly hip-hop, while preserving the message and integrity of traditional gospel. Here, he and his powerhouse choir pace through a decades-long, sixteen Grammy award winning discography of faith, praise and encouragement while cracking plenty of jokes. I cannot recall a more moving Tiny Desk home performance.”

The triumphant half-step key changes in the abbreviated NPR Tiny Desk version (2021) of “Melodies from Heaven” hit at 8:38 and 8:49. In an older live version of the tune, originally released in 1996 (also posted below), we hear the shifts at 2:21 and 2:43.

Jeff Goldblum + the Mildred Schnitzer Orchestra (feat. Scarlett Johansson) | The Best Is Yet to Come

Having starred “as The Wizard of Oz with Ariana Grande and Cynthia Erivo in the critically acclaimed global box office smash Wicked, Jeff Goldblum’s storied career now spans six decades of award-winning work as a starring actor in film, television, and theater,” (Atlanta Symphony Orchestra). “He has also produced both film and television projects and is an Oscar nominated director for his short feature film, Little Surprises. Goldblum’s many cinema credits include The Big Chill, The Grand Budapest Hotel, and The Fly— and box office behemoths Independence Day, Jurassic Park, and Thor Ragnorak. As a pianist, “… Goldblum launched the Mildred Snitzer Orchestra 30 years ago. Since then, he and his band have performed for delighted audiences … playing contemporary arrangements of classic jazz and American Songbook standards.

“Speaking to the New York Times, Goldblum explains that he picked up the piano at a young age: ‘I’m from Pittsburgh and was one of four kids, so our parents got us music lessons, very wisely and nicely and life-changing-ly,’ he says. ‘I had a facility for it. But I didn’t yet know the joys of discipline.’ After a couple of years of vague commitment to lessons, it took an intro to jazz to really focus our Jeff.” (Classic FM) … “’That did something to my innards. That’s when I got better, because I wanted to learn that thing.'”

“The Best Is Yet To Come” (1959) was written by the team of Cy Coleman and Carolyn Leigh, who also wrote Frank Sinatra’s 1957 classic “Witchcraft.” (Songfacts). The tune is perhaps most associated with Sinatra; the phrase “The Best Is Yet To Come” is etched into the singer’s gravestone. But Goldblum’s version 2025 version takes a very different approach, with its bossa nova feel complimenting the vocals of actor Scarlett Johansson. The chromatic exactitude of the melody turns each long phrase its own little world, making the frequent key changes almost an afterthought. The intro is built in Bb minor, but as verse 1 starts at 0:17, there’s a shift to D major; verse 2 shifts to F# major at 0:42. More shifts continue throughout.

The Lemon Twigs | Any Time of Day

“The Lemon Twigs recorded Everything Harmony in New York and San Francisco in 2021, and they produced the LP themselves,” (Stereogum). “In a press release, (band member) Brian D’Addario names Arthur Russell and Moondog as big influences on this record, and he has this to say about the new songs:

Their arrangements entered my head when we were arranging the strings on the album, and we worked for a long time on our vocal blend. On previous records, whoever wrote the song might do most, if not all, of the harmonies on their track, but not so much on this one. Our blend is a strength that we tried to exploit as much as possible.

You can hear that blend at work on ‘Any Time of Day,’ which has a real ’70s easy-listening vibe, combined with a bit of psychedelic seasickness.”

Starting in F major, the tune pivots into E major for the chorus (0:20 – 0:38). But F major is back for the next verse, then E major for the second chorus. The harmonically dynamic bridge (1:18 – 1:51), expansive in comparison with all that came before, leads to some final choruses — a saturated wall of sound in F# major.

Lawrence | Hip Replacement

“As NPR writes, ‘siblings Clyde and Gracie Lawrence are not your typical pair.’ Clyde Lawrence and Gracie Lawrence have been writing songs and listening to countless Stevie Wonder, Randy Newman, and Aretha Franklin records in their family’s New York City apartment since they were little kids,” (GroundUp Management). “After years of playing together, they officially created Lawrence, an eight-piece soul-pop band comprised of musician friends from childhood and college. The band has since gained a devoted following for its high-energy, keyboard-driven sound, which features tight, energetic horns and explosive lead vocals … In 2024, Lawrence entered a new era with the release of their fourth studio album, Family Business. The album’s opening track, ‘Whatcha Want’, broke into the Top 40 on the US Pop chart.

… In addition to creating music, in December 2022, Clyde Lawrence wrote an article published by the New York Times regarding the unfair dynamics that artists face in the live music industry as a result of the merging of Ticketmaster and Live Nation. In January 2023, Clyde Lawrence and Jordan Cohen were invited to testify at a U.S. Senate Judiciary hearing in Washington, D.C., on the topic of live event ticketing … Lawrence and Cohen continue to spread the word about the challenges in the live event promotion and ticketing space in conversations with outlets like NBC News, Vice News, Politico, and more.”

“Hip Replacement,” from the band’s 2024 release Family Business, has all of the hallmark funk of a powerhouse Tower of Power track — until Lawrence’s trademark tag team and octave unison vocals hit. Starting in F# major, the track jumps up to G# at 0:37 and then A for the chorus at 0:46. At 1:04, we’re back to F# for the next verse. The pattern repeats until 2:01, when the track shifts into an extended instrumental bridge in F. The chorus later returns, but the tune remains in F as it tumbles all the way to the end.

Many thanks to Joya M. for this perfect Friday night mod — her third contribution to MotD!

Rufus feat. Chaka Khan | Sweet Thing

“Chaka Khan, known as the ‘Queen of Funk,’ … has multiple hits with both her band Rufus and her solo career,” (Imperfect Fifth). “She still has a large following, but only a handful of her biggest hits have reached younger audiences.” Her 2024 NPR Tiny Desk Concert set list “is a collection of seven singles from both her solo career and time with Rufus, spanning from 1974 to 1985, with the most famous singles being at the very end. Okay, let’s talk about Chaka Khan herself during this show. You would never believe that she’s 71 years old because she looks and sounds fantastic. Her energy is loose and fun, her singing hits the high notes with ease, and she sounds almost identical to the original studio recordings.

Just as good as her are her backing vocalists, who get moments of their own to shine (see Tiffany Smith getting a solo to show off her pipes on ‘Sweet Thing’). The onstage chemistry between Chaka, the backing vocalists, and the band is always apparent during the show. Like many Tiny Desk Concerts, part of the fun is also the interactions between the band and the crowd. A show highlight was Chaka letting the NPR audience sing several verses on their own during ‘Sweet Thing,’ and it’s adorable hearing the enthusiasm and love for the music from the crowd … Chaka Khan’s Tiny Desk Concert is nothing but delightful, and a victory lap for a monumental artist.”

At 14:05, the key moves up a half step. In addition to the Tiny Desk video, we’re posting the studio version of the tune just for good measure. On the studio version of this 1975 classic, the key change hits at 1:56.