“Love You The Right Way” is featured on Polish producer Chloe Martini’s 2019 EP Daydream. Heralded by Spotify for its “blistering electronics fused to soulful R&B textures,” the EP includes five tracks — two with the British-Zimbabwean singer KWAYE. Martini, who is completely self-taught, counts Prince, Jimmy Jam, and Terry Lewis among those who have influenced her most.
The track begins in B and winds its way up a whole step at 3:01.
Billy Porter is a 1991 graduate of Carnegie Mellon University’s drama program whose Twitter bio covers plenty of ground: Grammy, Emmy, Tony & Drama Desk winning actor, director, singer, dancer, writer, advocate. From IMDB‘s bio: “Billy Porter built a substantial reputation as a theatrical singer in Broadway productions such as Grease and Smokey Joe’s Cafe. He made his initial impact by placing ‘Love Is On The Way’ on the soundtrack to the film First Wives’ Club in 1996 …” He later won a Tony award in 2013 for his portrayal of Lola in Kinky Boots. His breakout TV role was Pray Tell in Pose, which debuted in 2018 and ran for three seasons. In 2021, he returned to his native Pittsburgh to shoot his feature film directorial debut, What If?
NME reports that Porter’s 2021 single “Children” was “co-written with Grammy-winning songwriter MNEK (Dua Lipa, H.E.R.) and Little Mix member Jade Thirwell. Porter said in a press release that ‘Children’ was ‘inspired by [his] life and everything [he’s] gone through to get here,’ saying that he’d always had an ambition to release music like it, but was dissuaded by the state of the industry and its lack of understanding towards what he wanted to express. ‘Music is my first love. I grew up singing in the church. When I first put out commercial music in 1997, the industry was not ready for all this black boy joy! But luckily the world has caught up.'” The tune starts in C minor and shifts to Db minor at 2:49.
“You Gotta Not” is featured on the 2016 album Glory Days by the British girls group Little Mix. The album was their first to reach #1 in the UK; AllMusic claimed “the group deliver[s] a set of hooky, smartly crafted songs that balance swaggering, ’60s-style R&B with stylish, electronic-tinged dance-pop.” Co-written by Meghan Trainor, “You Gotta Not” highlights themes of female empowerment, and its groove recalls Jennifer Lopez’s “Ain’t Yo Mama,” also written by Trainor. The tune modulates from Db up to D at 1:12.
“Although they never had much success in America, the Euro-disco group Boney M. were a European phenomenon during the ’70s” (AllMusic) “Fronted by German record producer Frank Farian, the group also included four West Indian vocalists who had been working as session singers in Germany … In October 1978, ‘Rasputin’ became one of the band’s UK Top Ten hits. Their music continues to sell well in Europe, with a compilation hitting the U.K. Top Ten in 1994 … Farian went on to create the late-’80s dance sensation Milli Vanilli.” The band was late-70s mainstay on the UK TV show Top of the Pops.
“Rasputin” (1978) certainly takes a unique approach towards Russian history. Dangerous Minds reports that “the Soviet Union banned the song, which probably didn’t bother Boney M. too much.” The lyrics from the chorus set the tone:
Ra ra Rasputin
Lover of the Russian queen
There was a cat that really was gone
Ra ra Rasputin
Russia’s greatest love machine
It was a shame how he carried on
At the 0:40 mark, the key falls approximately a quarter-step to B minor: an unusual way of working its way out of an intro!
“There were so many Sylvers,” Stereogum reports. “There were 10 Sylvers siblings … If you watch the Sylvers on any of the big TV shows of the era — The Midnight Special, Soul Train, American Bandstand — they make for a breathtaking spectacle: All these kids, most of them with towering afros, all doing complicated and busy dance routines while belting out some almost absurdly catchy music, looking like the damn Polyphonic Spree.”
Other than their smash #1 hit “Boogie Fever” (1975), perhaps the group’s best known single is 1976’s “Hot Line,” which made it to only #5. Stereogum continues: “The Sylvers played some kind of crucial connective role within pop music, acting as a bridge between early-’70s Motown and the disco explosion that followed. The Sylvers’ success couldn’t last, and it didn’t … In different permutations, the Sylvers kept recording until 1985, when they finally broke up.”
With a super-saturated arrangement and a tempo that percolates in the high 130 BPM range, this tune was hardly in need of a boost. But a half-step modulation does indeed drop at 2:01, with all of the siblings’ voices united in a huge syncopated kick.
One of the best-known disco classics of all time, “Turn The Beat Around” was written by Gerald and Peter Jackson and featured on Vicki Sue Robinson’s debut album Never Gonna Let You Go, released in 1976. The song, which held the number one spot on the disco chart for a month, was Robinson’s only hit, and won her a Grammy nomination for Best Female Pop Vocal Performance. Gloria Estefan recorded a very similar cover in 1994, and both versions have been used in numerous movies and TV shows.
The track modulates up a half step, from F# minor to G minor, at 2:48.
The Brett Domino Trio is a British comedy music duo consisting of Rob J. Madin and Steven Peavis. Madin (a comedian with many alter-egos, including the eponymous Brett Domino) and Peavis create their unique style by blending meme humor and awkward comedy with driving pop, disco, and funk beats. From the name of the band (which has no third member) to small Easter eggs interspersed in many of their music videos, Madin and Peavis keep their music light-hearted.
However, the theory and rhythm is often more complex than one would expect from songs which nit-pick marathon runners for being too healthy, or are written entirely with snippets from fly-fishing magazines … to pick just two of the many wonderfully quirky songs produced by the Trio. Madin is a talented musician and writer, proficient in several instruments. These skills ensure that the band’s tunes – whose accompanying videos regularly feature the Trio awkwardly dancing – somehow still achieve maximum groove. The Brett Domino Trio have a loving online community which has co-created two entirely virtual collaborative tunes with the band: the fans submitted recordings of themselves playing their instruments, which Madin and Peavis then edited into a cohesive song.
The Trio’s most recent release, “The Pub,” feels like an introvert’s view of post-pandemic socialization. Over a solid funk/disco groove, Madin excitedly anticipates the prospect of sitting in a pub, with or without friends. The song begins in G major, then modulates to C major at the end of the bridge at the 2:06 mark. Hope you enjoy!
“The most convincing white R&B singer since Teena Marie,” declares AllMusic, “Lisa Stansfield reached the mainstream after nearly a full decade in the music industry … (1989’s) solo single ‘All Around the World‘ gave Stansfield a tremendous boost by reaching number one in several countries, including the U.K. From that point, throughout her distinguished if sporadic recording career, she was known for sophisticated, soul-inspired releases that appealed to a broad audience.”
Stansfield’s sleek yet evocative stage presence made her a natural for music video and for her live shows. The UK native’s distinctive, open expression (so celebrated in the iconic video for “All Around the World”) might have made her a silent film star had she been born 60 years earlier.
In addition to the custom-written dance tracks she’s best known for, she has reverently covered a wide range of classics by artists ranging from Billie Holiday to The Four Tops, from Barry White to Marvin Gaye. “Set Your Loving Free” is a single from Stansfield’s second album, Real Love (1991), written by Stansfield, Ian Devaney, and Andy Morris. This expansive 1994 live performance provides all of the lush instrumentation of the studio version, if not more. The verse starts in B minor at 0:28. At 1:04, the pre-chorus in C# minor quickly sets the stage for the chorus in E minor (1:22).
1981 saw the release of the album In the Night by disco royalty Cheryl Lynn. The Second Disc notes that ” … with Latin-tinged, layered percussion and melodic bass runs from Miller supporting Lynn’s stratospheric range, it’s a fast-paced and ever-danceable Lynn/George Dream original with vocal acrobatics reminiscent of ‘Got To Be Real.'” The aforementioned Miller is Marcus, the legendary jazz and funk bassist who’s gone on to build one of the most multi-faceted resumes in contemporary music.
The dance genre known as Post-Disco was heavily influenced by funk. Mixmag reports: ” … the term Disco has morphed into a catch-all term for dance music before House … but there was a very important bridge that connected the dots between US and Europe, man and machine. In 1979, disco (had filtered) its way into TV, advertising, comics and even music from Ethel Merman. The backlash was quick and punishing; the implicitly homophobic and racist ‘Disco Sucks’ rally at Chicago’s Comiskey Park that year all but killed the sound in mainstream America. Disco was forced back underground … a period where there were no rules and music was open to all sorts of influences.”
While the tune begins and ends in E minor, there are shifts in tonality throughout:
0:00 Intro and Chorus
0:32 Verse
1:05 Chorus
1:21 Verse
1:55 Transition/Bridge Section A; 2:09, Section B; 2:18, Section C
2:26 Chorus, Break, Chorus …
Many thanks to our resolute stringer JB for yet another great submission!
“No white artist sang R&B more convincingly than Teena Marie,” notes AllMusic. “Marie grew up in west Los Angeles in a neighborhood that was nicknamed ‘Venice Harlem’ because of its heavy black population. The singer/songwriter/producer was in her early twenties when, around 1977, she landed a job at Motown Records.”
Pitchfork notes that “despite earning (Motown boss) Berry Gordy’s approval, she worked with an assortment of songwriters over nearly three years with no luck. While rehearsing at the label’s L.A. studio one day, Marie finally got the right person’s attention: Rick James, fresh off 1978’s Come Get It!, his debut Top-10 R&B album that would launch his outrageous, sequin-studded ‘Super Freak’ era. The funk-rock svengali took an instant shine to Marie. ‘I expected to see a writer-producer … and instead I found this short, tiny white body sitting at the piano, singing like the gods had come into her spirit.’ Her production and songwriting prowess has been instructive for generations of musicians Marie has influenced over the years … Mary J. Blige, another powerhouse of R&B, cites her as a formative influence constantly. ‘It bugs me out that only 1 out of 20 people knows about Teena Marie.'”
Released in 1980 in a post-Disco era when roller rinks thrived (and, unlike dance clubs, were open to all ages on some nights of the week), “I Need Your Lovin'” clearly bears Rick James’ signature percolating bassline style. The tune’s saturated instrumentation is in high gear from its first measures, but reaches a pinnacle as it transitions from B minor to C minor at 4:11. The strings, horns, and backing vocals duel it out thereafter — both before and after a false ending at 6:11. The track reached #37 (US Pop), #9 (US R&B), and #2 (US Dance). Many thanks to MotD regular Rob Penttinen for this submission!
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