Tag: pop

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!

Scritti Politti | Bam Salute

“… to these ears, Provision (1988) is an almost-perfect follow-up to the classic Cupid & Psyche ’85,” (MovingTheRiver). “There’s arguably more cohesion – (vocalist Green) Gartside and keyboard-playing cohort David Gamson co-wrote and co-produced all tracks (no Arif Mardin this time) and the guest spots from Miles Davis, Roger Troutman and Marcus Miller are expertly placed.

‘Sweetness’ is the word that seems to follows Scritti around. And despite containing two classic ballads (‘Overnite’, ‘Oh Patti’), Provision is unashamedly happy music – all the songs are in major keys … And is there a Grammy award for arrangement? If so, Provision should have won. Gamson and Green do some intricate things here with backing vocals (check out ‘Bam Salute’), rhythm guitars and synth syncopation. No-one else has really explored similar areas, including the greats of ’80s R&B. No wonder Miles was a bit obsessed with Scritti.

Provision missed the top 100 in the States but made the top 10 in the UK (selling over 100,000 copies) and produced one top 20 hit in ‘Oh Patti’. Writer Nick Coleman gave the album a 9/10 rave in the NME, calling its songs ‘sweeties to rot your teeth and detonate your heart.'”

Starting in C major for the verse, “Bam Salute” both tumbles and climbs(!) into its D major chorus at 0:54. At 1:17, the next verse returns us to the original key. The pattern continues from there. Throughout the track, the solid reggae-inspired groove fights for top billing with polished synths effervescing with syncopated kicks.

Clannad (feat. Bono) | In a Lifetime

In the mid-1980s, “Clannad, a family output from Donegal … were best known for the startling ‘Theme From Harry’s Game,’ recorded almost entirely in the Irish language itself,” (FarOutMagazine). “Their horizons were widening, and they felt confident enough in their abilities to work with a singer of Bono’s calibre by the time they recorded ‘In a Lifetime’ (1986). They were a family unit, no hollow metaphor, but a signifier of their place as a family of artists … They were a lo-fi pastoral band from the north of Ireland who were determined to bring the mysteries of life into the forefront, by channelling the songs and tapestries of their forefathers.” By contrast, Bono (lead vocalist of the band U2) “came a world away from that, having grown up in Dublin on a diet of The Sex Pistols, The Clash and The Who.

Paul Hewson was nicknamed ‘Bono’ on account of his strong vocal prowess, and he was adept at trying out new styles of singing … ‘He just walked in the studio and improvised his vocal in two takes, making up a lot of lyrics on the spot,’ Clannad singer Maire Brennan remembered. ‘The whole thing took about 10 minutes. It was one of the most remarkable things I’ve ever seen in a studio,’ … Bono showed that he could work outside of the U2 bandwidth to create compelling vocal demonstrations. His voice melds nicely with Brennan’s, and the two vocals slide in and out of the work to create a more impressive vocal choreography,” In the video, “tellingly, the two vocalists have their backs turned against each other, guided by the power of their partner’s timbre.” Brennan’s death at age 73, after several years of fighting lung disease, was announced today (The Guardian).

After an initial intro of a cappella chant, “In a Lifetime” begins in earnest at the 0:22 point with a more structured intro. Brennan’s vocal is in A minor; Bono’s first feature shifts to D minor starting at the 1:00 mark. The two keys alternate from there.

Eurythmics | There Must Be An Angel

“Released in June 1985, ‘There Must Be An Angel’ it became Eurythmics’ only UK #1 single — a jubilant, gospel-infused track that remains one of their most celebrated works,” (Ultimate Eurythmics). “Written by Dave Stewart and Annie Lennox, the song is a euphoric blend of soul, pop, and gospel, with Annie’s vocal soaring above a rich arrangement. But what truly elevates the track is the harmonica solo, performed by none other than Stevie Wonder … The single was the second release from the Be Yourself Tonight album, following the punchy ‘Would I Lie to You?’

… The lush orchestration, gospel choir, and Stevie’s harmonica all contribute to a sound that feels transcendent … Annie has described the song as ‘pure joy,’ a deliberate contrast to some of the darker, more introspective material in Eurythmics’ catalogue. Dave Stewart once recalled that when they were working on the track, Annie said, ‘This could be great for Stevie Wonder,’ and the idea of bringing him in added to the song’s sense of wonder and spontaneity.

The 1985 track is built primarily in C major, but from 2:34 – 3:08, the bridge shifts to Bb major, bringing a temporary change in the groove as well. An instrumental verse follows the bridge (including the harmonica feature).

The Bee Gees | I’ve Gotta Get a Message to You

“(2023 marked) a half-century since the Bee Gees infiltrated the American charts with a run of singles,” (American Songwriter). “While the band rose to rarefied heights in the disco era (and plummeted just as precipitously once the genre fell out of fashion), those ’60s singles still exemplify their rare combination of pop songwriting smarts and gilded harmonies better than any of the other music they released in their storied career. And ‘I’ve Gotta Get a Message to You’ just might be the high-water mark of that period.

As Barry Gibb remembered in the liner notes to the 2006 reissue of Idea, the 1968 album that contained the song, that vocal approach was the last-minute brainchild of producer Robert Stigwood. ‘Now that was a memorable night. The song we wrote together, all three of us. I think that night, I know for a fact, we didn’t sing the choruses in harmony. Robert called us back to the studio at 11 o’clock at night and said, I want the choruses in harmony, I don’t want them in just melody. I want three-part harmony choruses. So we went in and attempted that ’round about midnight. Everyone drove back to the studio, and that’s what we did.'”

The verse of the somewhat de-tuned track begins in B major, but the chorus brings a shift to C# major at 0:33. The pattern repeats at 0:57 and 1:42 for the second and third verses and choruses, respectively. At 2:27, the chorus climbs another rung up to D# major. As was common practice at the time, the Australian trio were lip-synching to the 1968 studio track, so as was the case with most “live” (canned!) performances of the era, the visuals of the ending are a bit ragged.

IU | Good Day

“Arguably the country’s most popular singer-actor of her generation, IU steadily gained recognition after kicking off her career in 2008, but was still finding her musical footing at the start of the 2010s. Then came 2010’s ‘Good Day.’ Upon first listen, it’s a bouncy, sweet tune, bolstered with orchestral instrumentation and synths. Then the production shifts into funk-inflected pop, as bold horns and dulcet, layered vocals emphasize IU’s bright, bold, and candied sensibility. ‘Good Day’ glides along key changes and soars with the momentum of confessed love — hitting a three-note jump in IU’s voice so singularly spectacular that it instantaneously launched her into the realm of legendary Korean singers.”

Rolling Stone Australia rated the 2010 tune #3 in its collection of The 100 Greatest Songs in the History of Korean Pop Music. Many thanks to our contributor Ziyad for sending in this distinctive track!

Starting in E major, the tune shifts to G# major at the chorus (2:05). At 2:52, we land in the original key for the next verse. At 4:14, there’s a shift up to A major as the chorus repeats. The orchestration fireworks that take us from section to section are not to be missed!

Gary Wright | Love is Alive

“Gary Wright released the second single from his 1976 album The Dream Weaver, a song which hasn’t gotten nearly as much love from radio as the album’s title track,” (Rhino.com). “Maybe that’s because of all the exposure that ‘Dream Weaver’ got from its usage in Wayne’s World, (but) both songs hit the same spot on the Billboard Hot 100.

What those who weren’t around at the time often forget, however, is that ‘Love is Alive’ – which was both written and produced by Wright – was actually the first single released from The Dream Weaver … and it was a big ol’ flop. It just absolutely stiffed. But after ‘Dream Weaver’ came out and took the charts by storm, Warner Brothers reissued ‘Love Is Alive,’ and – like ‘Dream Weaver’ – it made it all the way to #2! … It also managed to make a very brief appearance on the R&B Singles chart, hitting #98 before falling back off. Not what you’d call a dramatic showing, but it’s still something that “Dream Weaver” never managed!”

The verse is built in F minor, with a prominent mischievous trill between the flat third and major third degrees of the tonic chord while the bass line sticks clearly to F minor. The chorus (first heard between 0:49 and 1:08) shifts to F major.

Oli Howe | Livin’ On a Prayer

“After releasing his debut album Moving Forward in 2020, Brighton UK based pianist/producer Oli Howe has been establishing himself a leading force amongst the dynamic UK jazz scene … In 2022/23, Oli released a six-track EP Hackney Daze … which amassed over 2.8 million streams on Spotify alone in just six months (artist website).

… Oli has shared stages with the likes of Yoland Brown, Omar Lyefook, Tortured Soul, Freak Power, The House & Garage Orchestra, Billy Cobham and Taylor McFerrin while drawing sold out houses with headline shows at top UK venues such as Ronnie Scott’s Jazz Club, Pizza Express Jazz Club, Brighton Jazz Festival and most recently Love Supreme Jazz Festival.”

Via his very popular Instagram channel, Howe has made a habit out of cranking out modernized, harmonically up-cycled cover versions of pop favorites. Just like Bon Jovi’s 1986 original, “Livin’ on a Prayer” starts in E minor (later flipping over to its relative G major). But after the bridge, there’s a shift up to Bb major, enhanced by a hiccup in the otherwise stable meter.

NOTE: Howe’s Instagram channel won’t allow direct embeds, so please click through below!

Level 42 | Take a Look

“Following the success of 1987’s Running In the Family, Level 42’s stock as the premier UK based pop/funk crossover act was assured, but the original fusion of the two genres had been watered down with each individual collection until by 1988 the band were a highly polished pop group with only the merest hint of their funk past,” (The Hackskeptic).

Staring At the Sun is by far Level 42’s most uneven performance. There is a definite lack of bite in the songs, none of Mark King’s superior bass prowess, with listless arrangements and a tired, formulaic production effort … (but) the uptempo funk/rock ‘Heaven In My Hands,’ which became a successful single, harks back to the “Hot Water” era Level 42 … the sweetly heartfelt ballad “Take A Look” can’t disguise the rest of the album’s inherent problems.”

“Take a Look” starts in F# major, yielding to G# major during a chorus mid-phrase at 2:18.

Abba | Hasta Mañana

“‘Hasta Mañana,’ an ABBA ballad released on their 1974 Waterloo album, never quite managed to reach the top of international charts, but is nonetheless included in most band compilations, including Greatest Hits and The Best Of ABBA,” (MusicTales). “The song was originally intended for the Eurovision Song Contest and was subsequently replaced by Waterloo featuring the lead vocals of both ABBA’s female singers Agnetha Fältskog and Anni-Frid Lyngstad which followed the band’s promotion concept more closely.

‘Hasta Mañana’ is credited to the ABBA members Benny Andersson and Björn Ulvaeus as well as their manager Stig Anderson, who scribbled the final version of the lyrics. It is reported that a draft recording was handed over to Stig to compose the lyrics before he left on vacation in the Canary Islands, where he snatched that catchy phrase ‘hasta mañana’ (meaning ‘see you tomorrow’ in Spanish) while listening to a radio broadcast.”

The tune is a slice of the quartet’s slightly simpler sound from the period just before the full effect of their worldwide fame took hold. Starting in F major, the tune shifts via a late half-step key change to F# major (2:33). Many thanks to our frequent contributor Ziyad from the UAE for this submission — his 21st!