pop

The Supremes | You Keep Me Hangin’ On

The Supremes’ “You Keep Me Hangin’ On” (1966) is “a brisk, urgent, desperate song, and it absolutely snaps into gear the second we hear that itchy morse-code guitar riff panning between speaker channels … (Stereogum). “‘You Keep Me Hangin’ On’ sounds easily 10 years ahead of its time, and listening to it, you can immediately hear why Diana Ross thrived in the disco era while so many of her ’60s peers flailed.

‘You Keep Me Hangin’ On’ was Holland-Dozier-Holland’s attempt to write a rock song … The guitar, from Funk Brothers ace Robert White, is foregrounded, going back and forth between that ticcing intro and deep, resonant strums. The drums and percussion work together in lockstep, pushing forward the song’s urgency. The bassline is another James Jamerson wonder, busy and complicated but never so showy that it detracts attention from the rest of the song … Holland-Dozier-Holland parted ways with Motown soon afterward, only giving the Supremes one more #1 after ‘You Keep Me Hangin’ On.’ As it turns out, the Supremes were fine without them. But listening to this, it’s still hard not to wonder what might’ve happened if they’d stuck around, if their genius had even more time to develop within that peerless Motown thrill-delivery system.”

The form starts with the chorus in Ab minor. As the tune shifts into the first verse at 0:36, B major (with a big emphasis on a compound A/B chord) goes into effect; the major key feels restful by comparison, not least due to the lack of the percolating “news bulletin theme” guitar part that skitters over the top of the rest of the tune.

Michael Bolton | How Can We Be Lovers

“Released in 1989, Soul Provider, Michael Bolton’s sixth studio album firmly established him as a powerhouse in the adult contemporary and pop-rock genres,” (Subjective Sounds). “Known for his raspy yet soulful voice, Bolton delivers a collection of songs that balances power ballads with upbeat tracks, showcasing his vocal prowess and passionate delivery.”

“Michael Bolton is no fool, and when he broke through to platinum sales with The Hunger, nobody had to tell him to record a follow-up devoted to more of the same,” (AllMusic). “Bolton produced most of the record himself, and he teamed with the cream of the era’s romantic rock ballad writers, people like Diane Warren (who gets five co-credits here) and Desmond Child … the result was five Top 40 hits and millions of albums sold … ” Songwriting for “How Can We Be Lovers” was a group effort among Bolton, Warren, and Child.

Starting with a C minor chorus upfront, Bolton’s vocal intensity is turned up to 11 right off the bat. The tune then shifts to A minor for the beginning of verse 1 (0:35), but at 0:42, the initial chorus phrase repeats in C minor. 0:47 brings a shift to C major for the pre-chorus, leading us back to the C minor chorus at 0:57. Later, 2:01 marks the beginning of the obligatory guitar solo during the instrumental section of the bridge, which features a key change of its very own. As Bolton’s vocals return at 2:20, the backing vocals fight for superiority via a catchy sing-along countermelody. At 2:38, we step up to D minor, prepared only by a terminally processed single-beat synth solo. Throughout, viewers’ gears will likely be completely stripped by footage of Bolton’s day-glo band alternating with black and white scenes of Bolton being So Very Earnest. In other words: pure, unapologetic, bombastic ’90s.

Maaya Sakamoto (坂本真綾) | Hotchpotch

Maaya Sakamoto (坂本真綾) is a well-known seiyuu and Japanese pop singer-songwriter … Maaya got her break at the age of 15 when she lent her voice to Hitomi Kanzaki in the anime series Tenkuu no Escaflowne,” (Sputnik Music). “Her debut single, ‘Yakusoku wa Iranai,’ was the opening theme for the same anime. The release was a beginning of a longtime collaboration between her and composer Yoko Kanno. In that time, she also started to write lyrics for her songs. Sakamoto also appears in a television drama and musicals; she is known for her role as Éponine in the Japanese adaptation of the musical Les Misérables.“

Sakamoto’s 2010 release “Hotchpotch” features an intro and verse which are predominantly in D major, but which make brief steps outside of the key nearly constantly. The chorus (heard for the first time at 0:47) limits itself more closely to the boundaries of F# major. The pattern continues from there.

Many thanks to regular contributor Julianna A. for submitting this tune to MotD!

Michael Jackson | I Wanna Be Where You Are

“While most Michael Jackson fans are busy listening to The King of Pop’s most renowned albums, Off The Wall, Thriller, Bad, and Dangerous, I find great pleasure in listening to his 1972 debut solo release, Got to Be There,” (Subjective Sounds) … “it’s an exceptional album and, in the context of his continued evolution towards superstardom, has become somewhat of an underrated and forgotten release.

Yes, everyone is aware of Jackson’s earlier recordings, particularly as the frontman of the Jackson 5, but this solo outing is a world-class record with a collection of 10 timeless tunes … The production, songwriting, and artistry are exactly what one would expect from Motown during the era … it’s Jackson’s impressive vocal delivery that makes this timeless album a hidden gem, (as) he was no longer sharing the limelight with his brothers. Jackson was only 13 at the time of recording … but it’s the Motown spit and polish that is so compelling … Berry Gordy and the team at Motown played a core role in Jackson becoming the King of Pop.”

There aren’t many moments when Motown and the Baroque era of classical music overlap, but the brief solo harpsichord intro of “I Wanna Be Where You Are” qualifies. The balance of the intro leading up to the verse at 0:14 features lush instrumentation, including a tight string section. The verse straddles the relative major/minor border, starting in B minor (can it be I stayed away too long) and ending in D major (did I leave your mind while I was gone). The major section takes up the most real estate, resting on the D major chord at the end of the phrase (with flute filigree touching on the major seventh degree of the chord.) At 0:32, the pre-chorus stands ten toes down on the minor side of the line, strings and harpsichord pegging the 16th-note intensity meter. But then we return with verse 2 at 0:51, progressing straight into the B minor chorus at 1:09, where the strings are newly liberated to deliver a syncopated yet lyrical countermelody. 1:28 brings another pre-chorus, again resting on a bed of relentless 16ths.

Via what might have been the biggest compound chord of the 1970s (1:45) leading into an instrumental verse with a flute feature, we drop into the new keys (C minor and Eb major). 2:06 brings a chorus in the new key, with Michael singing even higher (repeatedly topping out at a G5) all the way to the faded ending. All of this complexity is packed into less than three minutes! The co-writers were Arthur “T-Boy” Ross and Leon Ware; the track went to #7 on the Cash Box chart, #16 on the Billboard Hot 100 pop chart, and #2 on the Billboard R&B singles chart in 1972.

Barry Manilow | Daybreak

“Daybreak” (1977) is “… one of a few Manilow songs co-written by Adrienne Anderson. This track has the happiness of a new day beginning, with lyrics of peace and excitement,” (LanceWrites). “Its upbeat feel became a bigger hit for Barry at his live shows (the song only hit #23 on the U.S. charts, and #7 on the AC charts). Encouraging people to stop running around the rat race of life and just experience life’s simple things by singing to the world of being positive and full of love, which is still relevant today. Let the sun come through the clouds, is a theme that several of his songs have, encouraging people to go through their struggles and storms with a positive attitude.”

Released at the heart of Manilow’s legendary late-70s run, the track initially appeared on his 1976 studio album This One’s For You. Starting in D major, the tune shifts to Eb major at 1:09, making use of a catchy I-v progression as soon as the verse begins. Although the beginning of the end is at 1:54 — only the halfway point! — a late outro/tag adds another layer of “the end is near” with a shift to G major at 3:26. If a single tune were chosen to telegraph that Manilow was destined for eventual Vegas residencies, it’s this one!

Kenny Loggins | I Would Do Anything

“Released in 1991, Leap Of Faith was a new artistic success for Kenny Loggins and a true return to form after the weak results of Back To Avalon,” (Fozfan.com). “On this new album the singer finally freed himself from the boundaries of the ‘flavor of the day’ radio sounds and offered the listener a collection of high quality songs, all delivered with true passion. Loggins crafted the record with a special care on the arrangements that are very refined plus a smart use of acoustic instruments that looked back at his early days with Jim Messina. On top of it all there are the usual incredible vocal harmonies of the singer with his special guests like Mike McDonald, Sheryl Crow and the Pointer Sisters.

‘I Would Do Anything’ is a latin-tinged ballad beautifully sung by Loggins with Sheryl Crow. The atmosphere is really magical and brings us to mind some of Michael Franks’ most inspired work. Flamenco guitar great Ottmar Liebert appears on it together with aces like Greg Phillinganes, Nathan East, Dean Parks, and Ricky Lawson, who offer their artistry to this sensual piece of music.”

Co-written by super-producer David Foster and Loggins, “I Would Do Anything” begins in E mixolydian. An unexpected F major comes into focus at 0:57. Verse two (1:37) returns to the original key. An extended interlude steps briefly into other key areas before a leisurely outro ends the tune in the original key. Loggins’ duet partner here is Shanice, best known for her release “I Love Your Smile,” although that role was at times filled by Sheryl Crow instead.

Gino Vannelli | The River Must Flow

After releasing some commercially disappointing albums which dug deeply into the prog world, Gino Vannelli “(the ‘Canadian Elvis’) and his brother Joe realized that their most favorable chance for gaining wider recognition rested in their emphasizing the more accessible, jazz-influenced R&B side of their sound, even if it meant alienating young fans who preferred their progressive rock angle,” (Jazz Music Archives). “The result was the platinum-selling Brother to Brother (1978).” The album featured one of Vannelli’s signature tunes, the breakthrough global hit “I Just Wanna Stop.”

The album “faithfully adhered to the high standards of aural fidelity that made his first five albums stand out from the herd, the musicianship is impeccable, and Joe’s continued insistence on utilizing every innovation in the field of synthesizers and keyboards … hadn’t waned one iota. Fortunately they didn’t abandon their love and respect for jazz when they jettisoned most of their prog wardrobe

… ‘The River Must Flow’ has a rhythmic contemporary pop groove that’s brightly peppered with lively percussion outbursts courtesy of Manuel Badrena, and Carlos Rios turns in another aggressive, jazzy guitar ride.” The track begins in Bb minor, shifting to Bb mixolydian as the chorus hits at 0:50. At 1:33, the tail end of the chorus serves as an intro to the next verse, reverting to Bb minor. The two keys continue to alternate from there.

Tommy Roe | Hooray for Hazel

“When recollecting those perpetual hit makers of the ‘60s, singer/songwriter Tommy Roe’s accomplishments are among the elite of the music industry,” (Classic Rock Music Writer). “Tommy Roe wrote and recorded six Top 10 hits between 1962 -1969, more than any other solo American artist, including eleven Top 40 hits, four certified gold singles, and two #1 Hits.

(Atlanta native) Tommy Roe is a member of the Hit Parade Hall of Fame, The Georgia Music Hall of Fame, and The Rockabilly Hall of Fame (and the) Iowa Rock ‘n’ Roll Music Association Hall of Fame. In 1966, Roe’s #8 Top 40 bubblegum hit ‘Sweet Pea’ swept the nation, followed by a British Invasion influence release ‘Hooray for Hazel,’ which reached #6 on Billboard’s Top 100.”

“Hooray for Hazel” begins in G major, but after a short drum break, a new verse begins in Ab major at 1:02. At 1:39, following another drum break, we’re back to the original key.

Pet Shop Boys | The Theatre

” … for years, they’ve been a very brilliant pop thing,” (BBC). “From the artwork, to their outlook, image, and literally quite good ability with tunes, they created an intelligence and panache that has seen them become one of the most successful duos of all time. Not for nothing did they once describe themselves as ‘The Smiths you can dance to.'”

” … the whole album (1993’s Very) sounds like it’s been double dipped in Tennant/Lowe’s jar of magical pop dust, and though it has lots of dancefloor-ready tunes” (Steve Pafford) ” … there are some weighty lyrics, with the coruscating anti-Conservative overtones of ‘The Theatre’ lambasting societal imbalances while mocking the bourgeoisie attending Pavarotti in the Park.”

“The Theatre” begins with an intro in Eb minor, but shifts at 0:38 to Eb major as the first verse begins. At 1:42, the chorus brings us back to the original key, but at 2:02, we’ve returned to Eb major for the next verse. The pattern continues from there. As mentioned in Pafford’s review, the sections in major key detail the glossy world of theatre-goers:

It’s another world here / the streets are gleaming / I was even dreaming / that they’re paved with gold

With the Pets’ trademark ease, the point of view of the minor-key choruses turn on a dime:

While you pretend not to notice / all the years we’ve been here / we’re the bums you step over / as you leave the theatre

Many thanks to longtime reader/listener and first-time contributor Mandy D. for this wonderful submission — her first!

Eric Nam | Ooh Ooh

“Eric Nam might not be a household name to every pop fan in the Western World. And that’s kind of the point for him (as he talks) about his atypical start on the path to stardom, and what it means to navigate the K-Pop industry as an American,” (Rolling Stone Australia). “The Atlanta, US-born artist of Korean heritage found a voice in a country where he barely spoke the language (Korea), in a market that favors teenage groups and ballad-heavy rock bands. Then, he exported his sound to one of the most populous nations on Earth, and wound up on the cover of Rolling Stone India.

‘They wanted me to do power ballads and I can’t even do power ballads. Then I wanted to be in a group and [was told] I was too old. I was 23, and [they said] you’re way too old to be in a group,’ he says. ‘Then they said try to be in a rock band – rock bands don’t really work in Korea — or you could go and be a solo power balladeer … I can’t force you to think of me as not K-Pop. Whatever you want to think of me, just go for it, but I really want you to understand that there is a complexity within K-Pop where it’s not just these massive groups with massive numbers.'”

Nam’s track “Ooh Ooh” (2014) begins in G minor. Combining Korean and English lyrics, the tune shifts up to Ab minor 2:30 — just before a rap-driven bridge. Many thanks to our UAE-based contributor Ziyad for submitting this tune!