“They say repetition is key to retention,” said Jon Burlingame, writing for Variety. “And in Disney/Pixar’s animated feature “Coco,” the song “Remember Me” is the tie that binds multiple generations in the shared love of music. It is central to the story about a young boy named Miguel who is pulled by the song from the land of the living to the land of the dead, gradually discovering the origins of the composition and awakening his own inner showmanship. Also part of the plotline are recollections of the distant past – hence, the song’s title — and of beloved long gone family members.”
The song won the Academy Award for Best Song in 2018, and was nominated for a Golden Globe and Grammy as well. This cover, by the a cappella group Voctave, features the instrumental group Mariachi Cobre, which regularly performs at Disney and also tours. Two modulations sprinkled in at 0:41 and 1:12.
Beauty and the Beast was the first Disney animated feature adapted for the Broadway stage, where it premiered in April 1994. The score, by Alan Menken and Howard Ashman, was recognized with an Academy Award for Best Original Score, and the title song, featured here, won Best Original Song.
Angela Lansbury voiced Mrs. Potts for the film, and her universally acclaimed performance of the tune has since been enshrined in the minds of thousands of children who have watched the film. In 2004, the American Film Institute ranked “Beauty and the Beast” at number 62 on their list of the greatest songs in American Film History. Lansbury died today at the age of 96 after a remarkable eight decade career in film, television, and theater.
“Deniece Williams’ ‘Let’s Hear It For The Boy,’ … was a last-second addition to the Footloose soundtrack, (Stereogum) … Like Michael Sembello, another relatively anonymous artist who scored a #1 single by soundtracking a dance montage in an early-’80s blockbuster, Williams had gotten her start backing up Stevie Wonder … Williams recorded (the tune) with the producer George Duke, a jazz-fluent polymath who’d made records with Cannonball Adderly and Frank Zappa … (and) gives a whole lot of room to backup singers George Merrill and Shannon Rubicam, who would go on to form the duo Boy Meets Girl and peak at #5 with ‘Waiting For A Star To Fall.’
As a singer, Williams is pretty great at conveying the idea of pure, overwhelming happiness. She’s the reason why ‘Let’s Hear It For The Boy’ doesn’t carry the immediate threat of doom for this couple. When she sings about this boy, hopeless schlub though he may be, she sounds utterly transported with joy … Putting a gospel singer like Williams on a giddy dance-pop track like this is a smart decision. Whitney Houston, someone who will be in this column a ton of times, first became famous singing songs like that. After ‘Let’s Hear It For The Boy,’ Deniece Williams never came anywhere near the top 10 again. Instead, she pulled a reverse Whitney Houston: After spending years as a successful pop singer, she became a full-time gospel singer. She’s won four Grammys, all in gospel categories, and she seems plenty happy in that world.”
After a start in C major for the intro and the verse, the chorus pivots up to D major for the chorus (0:43). From 1:06 to 1:15, some instrumental connective tissue provides some space for the tune to sidestep back down into C. The pattern continues from there. From 3:07 and onward, Williams seems to have fun effervescing at the very high end of her four-octave range through the extended outro.
“Get Happy” was the first song composer Harold Arlen and lyricist Ted Koehler wrote together, and was made famous by Judy Garland in the 1950 film Summer Stock. In 2019, actress Renee Zellweger starred in the movie Judy, a biopic of Garland’s life, and recorded this arrangement for the soundtrack with singer Sam Smith.
The tune features a succession of three half-step modulations: from the original home key of G up to Ab at 1:08, rising to A at 1:52, and finally landing in Bb at 2:26.
“Tell Her” is from the Broadway musical 13, with music and lyrics by Jason Robert Brown. The stage version premiered in New York in 2008, and the show was recently adapted into a movie by Netflix and released on the platform last month.
“Tell Her,” performed here by Eli Golden, Gabriella Uhl and the ensemble, comes near the end of the show and features multiple modulations. Beginning in G, the song shifts up a third to Bb for the second verse at 1:04, and then rises again a half step to B for the verse three at 1:52 before returning to G at 3:08.
Olivia Newton-John, a winner of four Grammy awards and an artist who sold upwards of 100 million albums worldwide, passed away today after a multi-year battle with cancer. We’re featuring a tune from one of the many high points of her multi-faceted career.
“Longtime Olivia Newton-John associate John Farrar composed ‘Suddenly’ for the soundtrack to the movie Xanadu in 1980,” (AllMusic). “Recorded in Los Angeles in March 1980, a somewhat slight ballad was transformed into a genuinely heartfelt duet between the Australian and Cliff Richard, with whom she had enjoyed a decade-long association as friend and occasional co-performer (she was a regular guest on his early-’70s TV series). ‘We do have a good relationship and I think it really comes across in the song,’ Richard mused. Indeed, released as Richard’s 79th British single, ‘Suddenly’ reached number 15 in that country, despite the general failure of the accompanying movie. It also became Richard’s fourth U.S. Top 40 hit in a year, when it reached number 20 in October 1980.”
Newton-John was always more than just a pretty face; the same could be said for her UK duet partner! Richard was a massive star in the UK by 1980s, but was beginning to catch on in the US market as well — with plenty of boyish pop cred belying his age (40 vs. Newton-John’s 32). “Suddenly” was a central part of the Xanadu soundtrack, but on the eve of MTV’s appearance in 1981, a promotional video featuring both singers was called for, rather than footage from the fanciful rollerskating-centric movie. If the US Top 40 somehow had a baby with the visual aesthetic of TV soap opera General Hospital, one of the largest media blockbusters of the era, this video would have been the result (move over, Luke ‘n’ Laura … Cliff and Olivia are super cute and have pipes!) The chemistry here might not have been entirely the result of acting: upon her death, Richard said of Newton-John: “‘We hit it off straight away. She was the sort of soulmate that you meet and you know is a friend for life. When I and many of us were in love with Olivia, she was engaged to someone else. I’m afraid I lost the chance,'” (Daily Mail).
After a somewhat aimlessly wandering intro (OMG, we have synths now! Let’s use them a lot!), Richard’s half of the verse begins in Ab major (0:16) but ends in B major; Newton-John’s half begins in Bb major (0:35) but effortlessly glissades into the Eb chorus (0:53). Lots of pivots continue from there.
“’Making Singin’ in the Rain and childbirth were the two hardest things I’ve ever done,’ Debbie Reynolds wrote in her 2013 memoir, Unsinkable,” (Slate). “’The movie was actually harder, because it hurt me everywhere, mostly my brain and my feet.’ Reynolds was only 19 when she was cast alongside Gene Kelly and Donald O’Connor in what would become one of the greatest Hollywood musicals … But she had no training in dance, and she was about to share the screen with two of Hollywood’s greatest hoofers. ‘I wasn’t a dancer,’ Reynolds wrote, ‘and I had three months to learn what Gene Kelly and Donald O’Connor had been doing for years.’
Reynolds’ preparation was arduous, and Kelly, who co-directed Singin’ with Stanley Donen, was a stern and unforgiving taskmaster who had opposed Reynolds being cast in the part. At one point, according to Unsinkable, she wound up crying under the piano in one of MGM’s rehearsal rooms, where she was comforted by no less than Fred Astaire. ‘You’re not going to die,’ Astaire told Reynolds. ‘That’s what it’s like to learn to dance. If you’re not sweating, you’re not doing it right.’” It’s riveting to watch Reynolds, well known as a triple threat, keep up with dance legends Kelly and O’Connor — particularly given that the number was shot over a single 15-hour day.
“Singin’ in the Rain (1952) is the best musical of all time, according to the prestigious American Film Institute,” (The Guardian). “West Side Story came in at number two, followed by The Wizard of Oz and Cabaret.”
After a start in B major, we shift to G# major at 1:01. Several other key changes follow, beautifully presented by full orchestra.
Written by Giorgio Moroder and Tom Whitlock for the 1986 film Top Gun, “Take My Breath Away” was recorded by the American new wave band Berlin.
There was tension within the group about whether to go forward with the song; lead singer Terri Nunn was all in, but John Crawford (the band’s founder, keyboardist and primary songwriter) was very resistant, not wanting outsiders to encroach on his turf. Ultimately the tune became one of their most popular hits, and won the Academy Award and Golden Globe for Best Original Song.
Lesley Gore is best known for the adolescent assertion of independence “It’s My Party” (Billboard #1 in 1963), produced by Quincy Jones, and recorded when she was 16. That song appeared on the album I’ll Cry If I Want To. She recorded her second album in 1963, Lesley Gore Sings of Mixed-Up Hearts, which contained another, more grown-up hit, “You Don’t Own Me,” previously featured on MotD.
That same album featured “Sunshine, Lollipops, and Rainbows”, written by Marvin Hamlisch, who had yet to achieve the fame that awaited him. It wasn’t until 1965 that the song was released as a single, to accompany its appearance in the movie Ski Party, a trashy beach movie set on the ski slopes — but which still included a beach, somehow. Besides Lesley Gore, there were musical contributions from James Brown and surf band The Hondells. The stars were noted thespians Frankie Avalon, Dwayne Hickman, and Deborah Walley.
“Sunshine …” was a favorite of radio DJs at the time of its release, because its running time of just over 90 seconds made it perfect to fill short programming gaps. But there’s no debating its merits — it’s a short, fun blast! There’s a half-step modulation at 0:46.
“Never Fall In Love” is featured in the 2018 coming-out film Love, Simon. Written and performed by Jack Antonoff, who also produced the soundtrack, the synth-driven song features Danish singer MØ. Beginning in D, a modulation to E occurs at 2:55.
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