Tag: pop

Don Henley | The Heart of the Matter

“Don Henley knew to listen when Mike Campbell came calling with a piece of music,” (American Songwriter). “The first time it happened, Campbell provided Henley with the foundation for his biggest solo hit, 1984’s ‘The Boys Of Summer.’ When Campbell delivered another unused instrumental piece as Henley was making 1989’s The End Of The Innocence, the end result was ‘The Heart Of The Matter,’ which became the album’s closing track and turned into one of the most resonant ballads of the decade. Indeed, the first lines of ‘The Heart Of The Matter’ tell the news of the narrator’s former flame finding someone new, putting him in a wistful, reminiscing mood: ‘And I thought of all the bad luck and the struggles we went through/How I lost me and you lost you.’

Henley muses about the tendency for even those who are seemingly at peace in a relationship to seek greener pastures: ‘What are these voices outside love’s open door/Make us throw off our contentment and beg for something more?’ ‘The Heart Of The Matter’ strikes such a chord because the themes are universal, especially for those who have lived, and lost, a little. Many breakup songs get bogged down in rancor and recrimination, but here is one that strives for something nobler, even as it admits how hard it is to get there.”

Built in D major overall, the track shifts to C major for most of its brief bridge (3:32 – 3:49) before shifting back into D major via its Vsus/V chord (3:49-3:54). Then we drop back into another verse in the original key.

Keely Smith | I Want to Hold Your Hand

Singer Keely Smith was an active recording artist during the 1950s and 60s, though she recorded occasionally in later years. Her stage partner in the 1950s was her perhaps more famous then-husband, bandleader Louis Prima. Together, they recorded a hit version of “That Old Black Magic,”  which earned them an award at the very first Grammy Awards in 1959

After her divorce from Prima, Keely Smith established a solo career, garnering a contract with Sinatra’s Reprise Records. In 1965, she released Keely Smith Sings the John Lennon-Paul McCartney Songbook on Reprise. Most of the songs had been recorded by The Beatles, though McCartney’s “A World Without Love” had been made famous by Peter and Gordon. The big band and string arrangements on the album were decidedly not rock, offering new interpretations of the songs.

The verses in Smith’s cover of “I Want to Hold Your Hand” are in waltz time, while the bridge reverts to the more familiar 4/4. There are some cringeworthy moments when she bends notes to the point of breaking on the tune’s highest melodic point and then rhymes “girl” with “hand.” But she manages to turn in one of the most distinctive Beatles covers ever! There’s a half-step upward modulation at 2:09.

Jill Sobule | Sad Beauty

“Jill Sobule, who raised eyebrows with her cheeky 1995 anthem ‘I Kissed a Girl,’ has died,” (NPR). “According to her publicist David Elkin and manager John Porter, the 66-year-old singer-songwriter died in a house fire in Woodbury, a suburb of St. Paul, Minnesota (this week) … Sobule was staying with friends in Minnesota before heading to her hometown of Denver to perform songs from her autobiographical coming-of-age musical F*ck 7th Grade on Friday.

‘Jill Sobule was a force of nature whose music is woven into our culture,’ said Porter. ‘I hope her music, memory and legacy continue to live on and inspire others.’ Sobule’s confessional songs sparkled with irony and humor and often told stories. Her hit ‘Supermodel’ appeared in the 1995 movie Clueless and she even once wrote a song at the behest of NPR. Her guitar-accompanied performance of ‘Philosophy 101‘ on All Things Considered in 2009 included the lyrics: ‘I am who I am today / Philosophy 101 / Before class, we’d all get high / Philosophy 101 / We think therefore we are / I’m thinking here on NPR.’

But the single that Sobule is most remembered for is ‘I Kissed A Girl.’ Recounting with tongue-in-cheek humor a tryst between two women, the single reached 67 on the Billboard Hot 100 and was one of the first openly gay anthems … In a 2018 interview with NPR, she added, ‘Still to this day, I get people who are saying, you know, that song meant a lot to me growing up in Alabama.’ ‘Jill Sobule wasn’t just a trailblazer in music—she was a beacon for queer artists,’ said Sarah Kate Ellis, GLAAD President & CEO in an online statement. ‘Long before it was safe or common, Jill was writing and singing about sexuality and identity with raw honesty and wit. At a time when doing so could have cost her everything, she chose truth. That courage helped pave the way for today’s artists like Brandi Carlile, Tegan and Sara, Lil Nas X, Sam Smith, Adam Lambert, and so many others who now stand proud and open in their music.'”

Sobule’s 1989 debut album, Things Here Are Different, was produced by Todd Rundgren and features many subtle touches which enhance the singer/songwriter’s guitar-centric live sound. The mid-tempo track “Sad Beauty,” driven by gentle latin percussion, might be surprising to listeners who are familiar only with Sobule’s broad array of lighter-hearted material. Starting in a distinctive A lydian, the first verse shifts to C lydian at 0:32, the rangy melody vying for attention with the surprising harmonies. The chorus, starting at 0:48 after a long grooveless pause, is in E minor. Verse 2 begins at 1:24; the pattern continues from there.

Natalie Cole | I Live for Your Love

“Nine-time Grammy Award–winning singer, songwriter, and performer Natalie Cole has proven to be one of the most beloved performers of all time,” (The Kennedy Center). “Natalie Cole rocketed to stardom in 1975 with her debut album, Inseparable, earning her a #1 single, ‘This Will Be (An Everlasting Love)’ and two Grammy Awards for Best New Artist, as well as Best female R&B Vocal Performance. More hit singles followed, including 1977’s “I’ve Got Love on My Mind,” 1987’s “I Live for Your Love,” and a remake of Bruce Springsteen’s “Pink Cadillac.”

In 1991, Natalie took a bold leap that would change her life and career forever. Already a highly successful R&B artist, Natalie amazed everyone when she recorded Unforgettable … With Love, an album of standards from the American Songbook that included a duet with her late father — Nat King Cole — on the title track. The album spent five weeks at #1 on the pop charts, earned six Grammy Awards (including Song, Record, and Album of the Year) and sold more than 14 million copies worldwide.” Branching out beyond music, she made more than 300 major television appearances, including Law and Order and Touched by an Angel and talk show episodes with Oprah Winfrey, Ellen DeGeneres, and Larry King. She went on to release other albums through the 2010s; her final album, En Espanol, was an entirely Spanish language album. Cole died of kidney disease in 2015.

1987’s “I Live for Your Love,” written by Steve Werfel, Pam Reswick, and Allan Rich, reached #13 on the U.S. Billboard Hot 100 in 1988; it was also a big Adult Contemporary (#2) and R&B hit (#4). The track shifts keys even before the first verse starts: the intro is in C# major, while the verse falls down to B major! The chorus returns back to C# major at first (1:11), but then transitions to E major before ending in C# major (1:32). Verse 2 starts at 1:41 in B major; the pattern continues from there, other than the bridge (2:51 – 3:18), which throws a few more changes in just for good measure. The tune wraps up in D# major.

Mickey Woods | They Rode Through the Valley

The 1961 release “They Rode Through the Valley,” performed by Mickey Woods, was “The first Motown writing credit for (Motown founder) Berry Gordy’s brother Robert, aka ‘Bob Kayli,’ this is – rather unbelievably – a second weak ‘historical comedy’ record about the Battle of the Little Bighorn, apparently a vein Gordy didn’t feel was tapped out yet following Popcorn Wylie’s baffling ‘Custer’s Last Man.’ Oh, except this isn’t just a comedy record – it’s a comedy country record. Sweet Jesus … Seriously, if you don’t want to jab knitting needles in your ears when we get to the (charitably-named) ‘chorus’ and he jauntily announces ‘Sittin’ Bull and his Injuns / At the little bitty bitty Bighorn!‘, you’re made of sturdier stuff than this listener,” (MotownJunkies.co.uk).

“Anyway, it’s a story about how Custer got all his men killed by telling them to wait until they saw the whites of the Native warriors’ eyes, only to be foiled because ‘all them big bad Injuns / have big red bloodshot eyes!‘ That’s it. That’s the punchline. A borderline racist joke at the end of a comedy song about a mass slaughter during a vicious war of racial extermination. Fantastic.

(It’s bleakly entertaining in one way, and just one: bitter irony. The company which the whole world would come to identify as synonymous with the smashing down of racial barriers, the shining, all-conquering jewel of racial integration in Sixties America, putting out a casually racist joke record. It’s now starting to dawn on me why, if Mickey Woods really was Motown’s first white solo vocalist, it’s not a landmark that’s been publicised more; it’s almost as if Motown worked hard to erase this jejune blip from their history) … This is utter, utter, utter crap, and best forgotten by all involved. Let’s move on.”

The key changes for this “least Motown-sounding” of all possible Motown tunes hit at 0:52 and 1:40. Don’t say we didn’t warn you.

Dionne Warwick | I’ll Never Love This Way Again

After singing a long string of legendary hits hits written by composer Burt Bacharach and lyricist Hall David through the 1960s and early 1970s, “Dionne Warwick’s career was revived when she teamed with Barry Manilow” for 1979’s Dionne. “Manilow’s production of such heavily orchestrated numbers as ‘I Know I’ll Never Love This Way Again’ put Warwick back in the spotlight, as she once again sounded confident and compelling,” (AllMusic). “It was the first platinum album of her career, and also her first album in ten years to crack the Top 20 on the pop album chart. Warwick scored another hit with ‘Deja Vu,’ and was back on track.”

Bacharach’s tunes routinely featured broad harmonic structures, surprising meter side-steps, atypical modulations so subtle they sometimes flew under the radar while still lending a renewed energy to a tune, and textures that often bordered on symphonic. Barry Manilow’s hits, broadly known by the late 70s, had a big strings-heavy sound of their own, but 4/4 always remained 4/4 and a song’s high point (frequently accompanied by a classic upward direct modulation) often chewed the scenery many measures before hitting their mark at center stage.

Richard Kerr and Will Jennings were the co-writers of “INLTWA,” but the track’s finished sound bears the unmissable imprint of Manilow, who played piano in addition to handling production. At 2:31, a quintessentially Manilow half-step key change hits, announced in advance by a huge crescendo, swelling strings, and a massive floor tom feature. Warwick lets the writing, the supporting musicians, and the production carry the day, giving the impression that she’s never belting at anywhere near 100%. She was rewarded with a top-10 hit in the US and Canada, and a top-50 hit in Australia, New Zealand, and South Africa.

Laura Mvula | Ready or Not

“Birmingham (UK)-born Laura Mvula is a soul singer-songwriter who graduated from the Birmingham Conservatoire with a degree in composition,” (National Portrait Gallery). “In 2013, she signed a multi-album record deal with Sony, and her debut album Sing To The Moon was released in 2013, reaching number nine in the UK albums chart. Guardian critic Paul Lester coined her music as ‘gospeldelia’. She won awards for Best Female Act and Best R&B or Soul Artist at the 2013 MOBO Awards. She received the 2017 Ivor Novello Award for her second album, The Dreaming Room (2016). She lists her influences as Nina Simone, Lauryn Hill and Jill Scott. In 2017, the Royal Shakespeare Company invited her to compose the music for their new production of Shakespeare’s Antony and Cleopatra.”

“It’s a bold move to cover The Delfonics’ ‘Ready or Not Here I Come (Can’t Hide from Love)’ — especially when considering The Fugees did so years ago with huge success — but British singer Laura Mvula has created a version that does it justice,” (Cool Hunting). “Mvula’s iteration modernizes the song, while remaining faithful to the original: it’s vibrant and danceable, while keeping a bit of the creepy, stalker darkness. With layer upon layer of background vocals, Mvula’s honeyed voice and delightful accent, this version takes on several different lives before its over.

Mvula’s 2016 version lacks the earthy hiphop factor of The Fugees’ 1996 smash hit cover, but keeps us on the edge of our seat from the opening seconds via some odd meters. A larger difference yet is the shifting tonality of Mvula’s version (absent from the Fugees’ version, but present in the Delfonics’ gentle, diminutive 1968 original, which features a run time of only two minutes). Mvula’s cover starts in B minor, shifts improbably to F minor at 0:30, then visits D minor at 0:52. At 1:12, we’ve returned to the opening key of B minor; the pattern continues from there, running at top intensity until the groove drops out for the unresolved ending.

The Mindbenders | A Groovy Kind of Love

By the time “A Groovy Kind of Love” became a Billboard #2 hit for Manchester UK’s Mindbenders in 1966, original lead singer Wayne Fontana had moved on to a solo career. The vocal for the song was provided by Eric Stewart, later a member of 10cc.

Carol Bayer Sager and Toni Wine wrote the song, which was originally recorded by the duo Diane and Annita. Their record used the title “A Groovey Kind of Love”, suggesting that popular culture had not yet settled on an orthography for the word. It was a very short historical period during which one could use the word “groovy” without a hint of irony, sarcasm, or condescension. Nonetheless, Phil Collins managed to rack up a #1 with his languorous recording of the song in 1988. Let’s suppose that everyone had forgotten about the word by that time, or its overtones had simply faded.

In the Mindbenders’ version, there’s a half-step modulation at 1:14, just before an instrumental verse.

José Feliciano | “Chico and the Man” Theme

“Very few names come to mind when talking about legendary musicians … one of those names includes José Feliciano, a multi-faceted Puerto Rican music artist who has succeeded in challenging the industry despite his disability. (He was) one of the first Latino artists to crossover in English and Spanish—and to succeed with both audiences,” (The Daily Chela). “He is perhaps best known for “composing the song for the television show Chico and the Man as well as his iconic holiday song ‘Feliz Navidad.’ … As a Latino, Feliciano was advised to change his name so he could broaden his audience, but he refused to do so … He doesn’t consider himself a hero or someone to put on a pedestal. To him, he’s just someone who loves music.” The artist is the subject of the 2020 documentary José Feliciano: Behind this Guitar (2020).

“While it wasn’t one of those blink and you’ll miss it moments in television history, Chico and the Man was nonetheless a short-lived small screen phenomenon that exploded in 1974,” (Yahoo.com) “… television as a medium was going through a transition to edgier comedies dealing with more realistic — and oftentimes somewhat controversial — material … The premise of the show is a kind of generational version of The Odd Couple, with Jack Albertson as Ed Brown, the elderly and cantankerous owner of a garage in an East Los Angeles barrio, who encounters a young Mexican American named Chico Rodriguez (Freddie Prinze) who arrives looking for a job and ends up living in a van on the property.”

Starting in A major, the track has an AABA form. The B section shifts up to the closely related key of D major (0:44) before the last A section returns to the original key (0:55). The form repeats from there. The production and light instrumentation (guitar and hand percussion) keep Feliciano’s vocal right out front in the mix. The song peaked at only #96 but nonetheless became well known due to the show’s popularity.

Barry Mann | Who Put the Bomp?

“Exactly who put the bomp in the bomp-bomp-bomp, the ram in the rama-dama-ding-dong and the oop in the oop-shoop, and the wop in doo-wop, remains a mystery mired in the greasy annals of teenage pre-history, back around the late 1940s and early 1950s,” (The Guardian). “Maybe it’s better that way, that the glories of the bomp belong not to an individual or two, but to a cavalcade of creators. You didn’t need instruments, just a few guys who could sing, a stairwell for an amplifier and a dream of following heroes like The Inkspots or the Mills Brothers, or just of impressing the girls from the next block.

… It was flashy, ridiculous, and dated, but extravagant and beautiful (doo-wop groups often named themselves after cars – The Cadillacs, The Impalas, The Bel-Airs). And just as the motor industry has never indulged in chrome and fins in the same way, so pop has never equalled doo-wop’s surreal Esperanto.”

Barry Mann went on to marry his songwriting partner Cynthia Weil, set up camp in NYC’s famed Brill Building, and crank out hits for a variety of artists (Songwriters Hall of Fame). Among their more recognizable tunes are “On Broadway,” “You’ve Lost That Lovin’ Feeling,” “We Gotta Get Out of This Place,” “Here You Come Again,” “Just Once,” and “Sometimes When We Touch.” But “Bomp” got Mann’s career started with chart success in 1961, peaking at #7. The doo-wop flavored pop tune shifts up a half-step at 1:22 — very close to the half-way mark for the single. The track easily hit the standard of the day for radio play: a run time of under three minutes.