acoustic

Don McLean | If We Try

“Somehow, enough people have kept Don McLean going through the years in a niche all his own,” (MrMedia) “He has never had a press agent and rarely does interview anymore because, rather dangerously it seems, ‘you get what I think.’ Pete Seeger … hailed him as one of the most talented singer/songwriters he had ever met: ‘He has a clear, intense gaze, a clear voice, and a clear head.’ And angst, lots and lots of pent-up angst for some reason.

‘To be remembered at all, to me, is a wonderful honor,’ McLean says. “But to have ‘And I Love You So,’ ‘Vincent,’ ‘Castles,’ ‘American Pie,’ and a version of ‘Crying’ that stands up to Roy Orbison’s – to have a handful of songs like that, to be remembered by any one of them, I would be very proud of that. I think that those songs are damned near perfect in a lot of ways,’ he says of his own output, ‘even in terms of the records that were made … You shouldn’t get the songs confused with the records. It’s like getting a screenplay confused with the film. You might start out with a great screenplay, but you choose the wrong actors, the wrong director and you come up with a bad film (from) a good story.”

Known primarily for his iconic tunes “American Pie” and “Vincent,” McLean has released two dozen albums. His 1972 folk-pop track “If We Try” begins in A major, shifts gradually to G major for the chorus (0:31 – 0:58).

Jitendra Abisheki | Raga Mala in drut ektaal

“The notion of a Raag (Raga) is at the foundation of Indian Classical nusic … a Raag uniquely defines a set of musical notes and their allowed arrangements to form melodies to evoke certain emotions,” (IndianClassicalMusic.com). “In Sanskrit, a Raag means ‘something that colors your mind.’ … Ancient scriptures define a Raag as a composition of sounds capable of bringing joy to the human heart while attaining beauty through specific movements of notes and phrases.”

From first-time contributor Warren S.: “This ‘raga mala’ (1986) is sung by the veteran vocalist Jitendra Abisheki. The shifts from one raga (generative scale) to the next are noted on screen. Interestingly, the song text itself references the name of each raga, literally describing what the music is doing.

To an outside listener it all sounds very similar — to which I’ll just note that a musically uneducated listener hearing key changes will have the same ‘something changed, but I don’t know what’ response.”

Many thanks to Warren for submitting this piece. It presents a musical shift which runs along a different, yet closely related, axis from the Western key changes that are our regular focus.

Gabriel Kahane | Limping Waltz

“Gabriel Kahane is a singer/songwriter, pianist, composer, and musical polymath equally at home in classical, theater, jazz, and adult pop settings,” (Qobuz). “He has written large-scale orchestral works, piano sonatas, string quartets, and song cycles as well as intimate singer/songwriter fare, and has collaborated with everyone from Elvis Costello and Rufus Wainwright to the Kronos Quartet and the Los Angeles Philharmonic. He first came to national attention in 2006 for his playful Craigslistlieder, which set personal ads to theatrical piano accompaniment (he would later take on celebrity tweets.)”

Kahane has gone on to work with artists such as Pekka Kuusisto, Andrew Bird, Chris Thile, his father pianist Jeffrey Kahane, Sufjan Stevens, Sam Amidon, Aiofe O’Donovan, and ensembles including the American Composers Orchestra, the Los Angeles Chamber Orchestra, Orpheus Chamber Orchestra, Kansas City Symphony, Saint Paul Chamber Orchestra, the string quartet Brooklyn Rider, and the Aspen Music Festival. He’s served as the Oregon Symphony’s Creative Chair.

According to the notes he includes with this Instagram post from earlier today, Kahane’s “Limping Waltz” has yet to be formally released. It begins with a verse with a subtly but constantly shifting harmonic backdrop. Instagram doesn’t provide timeslates, but the tune’s chorus, starting with the lyric “But hey kid,” and running through “listen, it’s urgent,” provides a comparatively peaceful respite in a straightforward B major before the unsettled verse returns.

NOTE: we’re getting reports that this post won’t play predictably. Very, odd. Please search on Instagram for Gabriel Kahane’s January 22 post. It makes us really appreciate the relative ease of working with Youtube. Our apologies!

Aldous Harding | The Barrel

“In October (2019), Aldous Harding’s song ‘The Barrel’ claimed the 2019 APRA Silver Scroll Award. It’s a groovy little folk number, containing whimsical imagery through its lyrics and video, each of which are ambiguous enough to support multiple interpretations.

In a recent NPR interview, Bob Boilen quizzes Harding on the meaning of both the video and music. Boilen reminds us that Harding is not known for talking about the meaning of her songs, but states that in this case, the video (described by Boilen as having Amish/futuristic/sci-fi tendencies), is not intended to be any visual representation of the content of the song – it is intended to keep it loose. Furthermore, Harding then rejected the notion of expectation and purpose with regards to songwriting in general. (Boilen, 2019).”

“The Barrel” starts with a verse in B major, while the chorus (1:10 – 1:26) is in C# mixolydian. Adding to the feeling of running-on-fumes life force from this New Zealand-based artist are Harding’s clipped syllables, her relaxed enunciation, and the nicely performed but barely-there bassline played with EQ levels better suited to a soprano guitar. Finally showing a faint proof of life at at the 5:00 mark, the band executes a tiny but precise ritardando as the tune ends.

If you thought the live video was interesting, check out the “studio” version, also posted below. But please do not operate any heavy machinery for at least two hours after viewing.

Plush | Soaring and Boring

“Liam Hayes is an accidental perfectionist. In hindsight, the Chicago-bred/Milwaukee-based songwriter’s disjointed two-decade trajectory — under his nom de pop Plush and, now, his birth name — was pretty much spelled out in the title of his early signature “Soaring and Boring”: high expectations followed by agonizingly long periods of inactivity,” (Pitchfork). “On the surface, Hayes’ backstory boasts all the hallmarks of a contrarian eccentric genius, whether he was answering the orch-pop promise of Plush’s splendorous 1994 debut single “Three-Quarters Blind Eyes”/”Found a Little Baby” with 1998’s starkly somber solo-piano effort More You Becomes You; tinkering with the symphono-soul follow-up Fed so much he had to release it in two different versions; or issuing certain albums in Japan only. But the uncommon lags between albums have mostly been a factor of Hayes losing his money rather than his mind, and trying to find sympathetic label backers to support a vision of tastefully constructed, soft-focus pop music that’s always been out of step with both mainstream and underground orthodoxies.”

“While it’s hip for contemporary pop acts to toss out Burt Bacharach’s name as an influence, few even remotely approximate the master’s melodic savvy, emotional resonance and simple elegance; Plush’s Liam Hayes comes much closer to the mark, with his debut More You Becomes You — an intimate, often gorgeous collection of piano ballads — recalling the handful of solo records Bacharach cut during the late 1960s,” (AllMusic). “Gentle yet disarming, the record’s only hint of irony is in its title — Hayes smartly favors a less-is-more approach, stripping his music of virtually everything but piano and vocals; both are more than adequate to convey the somber beauty which lends the album its seductive powers.”

Starting in A minor, “Soaring and Boring” (1998) drifts down to Ab minor at the 0:17 mark before rebounding at 0:26. The alternating pattern continues until 0:44, when the track settles into a longer patch of G minor during the chorus. More harmonic shifts continue from there.

Many thanks to regular contributor Ari S. for yet another distinctive submission to MotD!

Jacob Collier | Summer Rain

“Now five albums into his career, it’s clear Jacob Collier is a once-in-a-generation musician,” (Undertone). “For anyone that’s been following him since he broke out via harmonically complex a capella covers on YouTube, that’s old news. In reality, it was clear from that very first album – Hideaway, toured solo with Jacob jumping around stage from drums to keys to double bass with the help of a loop pedal – that Collier isn’t like your average singer-songwriter, not even your average jazz musician. He plays everything brilliantly and effortlessly, all with Herculean powers of humility, and has an immense grasp of musical harmony in all its nuances. His insatiable urge to learn new instruments is matched by his appetite for a dizzying array of genres and a rare respect for music in all its nebulous forms: Djesse Vol. 4 (2024) has everything from choral ambience to cinematic pop and oppressive death metal – and that’s just track one. As a result, Djesse Vol. 4 is in turns awe-inspiringly virtuosic and discombobulating, as has Collier’s entire career up to this point.

‘Summer Rain’ is the pick of the ballads, Collier showcasing the depths of his lovesick tenderness before a soaring, delightfully uncomplicated finale that evokes Coldplay in ‘Fix You’ mode. It’s more proof that when Collier can successfully harness his immense talents into developing a single strong idea – like the Hulk trying not to smash everything he holds – the result can be stunning.”

Collier is joined by mandolinist/vocalist Chris Thile (best known for his work with Punch Brothers and Nickel Creek) and singer/songwriter/guitarist Madison Cunningham on vocals. Beginning in D major, the tune runs along a largely uncomplicated course for its first three-plus minutes. At 3:30, a bridge shifts to D minor before dropping into an unexpected C minor (3:58). By 4:29, the tonality has been pulled gradually back to its ultimate resting place — a return to D major.

Many thanks to Ellie D. for submitting this memorable track to MotD — hopefully not her last!

Joni Mitchell | My Old Man

“Joni Mitchell’s ‘My Old Man’ is quintessentially Joni: whimsically metaphorical, groundedly realistic, and fiercely independent with its laissez-faire approach to long-term, committed relationships,” (American Songwriter). “She wrote the iconic track, which she included on the 1971 album Blue while living on Lookout Mountain in the Laurel Canyon neighborhood of Los Angeles. At the time, Mitchell was in a whirlwind relationship with Graham Nash—a relationship that, although doomed from the start, produced other enduring tracks like ‘Our House’ and ‘A Case of You,’ the latter of which is also on ‘Blue.’

A definitive musical power couple, Mitchell and Nash’s relationship was bigger than either party and, as the song clearly states, antiquated ideas of legal domesticity through marriage. Within the context of Joni Mitchell and Graham Nash’s relationship, the opening lines of ‘My Old Man’ paint a clear picture of the creative duo: My old man is a singer in the park; he’s a walker in the rain; he’s a dancer in the dark. Almost immediately, Mitchell asserts the fact that neither party feels the need to validate their bond through traditional means of marriage. We don’t need no piece of paper from the City Hall keeping us tied and true, she sings in the chorus. “

The intro and choruses are built in A major; the melody soars to Mitchell’s legendary high range as she details times spent together with her partner. From 1:17 -1 1:42, a verse (bridge?) cycles through several keys, all providing vivid contrast to A major! After another chorus, the verse/bridge (which returns at 2:17 – 2:42), which recounts the couple’s time apart, features a lower melody and more complex, darker harmonies.

Stan Getz | Crazy Chords

“Saxophonist Stan Getz came up at the very end of the swing era, a star soloist with Woody Herman’s orchestra in the late 1940s,” (NPR). “From the start, Getz was known for his rapturously beautiful ballad playing, much admired by peers like John Coltrane … It’s hard to overstate what a terrific tenor saxophonist Stan Getz was because there’s nothing dated about his style. He had a light, gorgeous tone that might convey great tenderness. He made swinging sound utterly natural and necessary. And he had an enviable melodic imagination as an improviser. His inspiration Lester Young famously said a good solo tells a story. And Getz could spin a tale.

Stan Getz fell into a lucrative career as the American standard bearer for a new musical fad, Brazil’s bossa nova, even before he scored big with “Girl From Ipanema.” Suddenly, Steaming Stanley really was out of step, replaced by his own more laidback self. He still improvised solos like a poet. But with so many tenors and others jumping on the bossa nova wagon, now everyone was copying him. So much for being old-fashioned.”

Well before Getz’s fame as an interpreter of bossa nova, his track “Crazy Chords” was released in 1951. After a short intro, the tune starts in earnest at 0:07. The 12-bar blues blazes by so fast that the second chorus hits at 0:17 — and the third at 0:28 and so on. Each chorus brings the tonality up by a half step, but Getz’s ideas (and those of his pianist, Al Haig) routinely bridge the borders between each chorus.

B+B Project | Cheremshyna

“B+B Project” is a Ukrainian ensemble named for its instrumentation (button accordion and bandura, an instrument which combines qualities of the zither and the lute). “The bandura is a traditional Ukrainian instrument … the B+B Project is bringing back the popularity of this fine instrument!” (EthnoCloud). “The group was created (in) 2015. They play a diverse repertoire: original songs, cover versions, rock, classical music, dubstep, Ukrainian music, and many others … The collective has toured extensively in Ukraine and around the world.” The B&B Project is now one of the most famous instrumental groups in Ukraine.

The group released “Cheremshyna” in 2022. After beginning in A minor, there’s a shift up a full step to B minor at 1:53. At 2:27, the tune returns to the original key.

Gabriel Kahane | To Be American

Composer/singer/songwriter Gabriel Kahane’s “To Be American” is a track from his from his 2022 album, Magnificent Bird. “Kahane both mines and interrogates nostalgia in the song, which he wrote during the roiling, national tumult of October 2020,” (Nonesuch.com). “‘It’s fitting,’ he says, ‘that a song preoccupied with the past would feature musicians who are some of my oldest friends. This song, as much as any on the album, is a showcase of my musical community.’ The elegiac anthem features an all-star band of Andrew Bird, Caroline Shaw, Punch Brothers’ Chris Thile and Paul Kowert, and percussionist Ted Poor.

Magnificent Bird, Kahane’s fifth solo LP … chronicles the final month of a year spent off the internet … Kahane revels in the tension between quiet, domestic concerns, and the roiling chaos of a nation and planet in crisis … In October 2020, the final month of his tech sabbatical, Kahane set out to write a song every day. ‘I wanted to create an aural brain scan at the end of this experiment,’ he explains, ‘and to give myself permission to write about small things, rather than trying to distill the enormity of the moment into grand statements … My internet hiatus grew out of a belief that at root, our digital devices reinforce the fiction that convenience and efficiency have intrinsic value. That has implications with respect to climate crisis, to inequality, to our (in)ability to see ourselves in each other, to build the kinds of coalitions necessary to make a more just world. I wanted to leave it all behind not as a further expression of techno-pessimism, but rather in search of a positive alternative.’

… Hailed as ‘a stunning portrait of a singular moment in America’ by Rolling Stone, the album chronicled an 8,980-mile, off-the-grid railway journey in the aftermath of the 2016 presidential election. ‘I wanted unmediated interaction with strangers, so I took that trip without my phone. Somewhere in New Mexico, I remember thinking, Wow, this is really transformative. I should do this for more than thirteen days.’”

“To Be American” begins with an intro and verse in Bb major, but shifts up to C major at 0:26; at 0:39, there’s a return to the original key. More key changes follow throughout. For all of Kahane’s skill in creating inventive textures as a classical composer, as well as his second career walking a complex line between classical and pop-adjacent contemporary music, this video sheds light further downstage — on his melody lines and lyrics.

for Steven