Tag: pop

The Spinners (feat. Dionne Warwick) | Then Came You

” … The Spinners … like so many of the other great soul groups of the early ’70s, had started off singing doo-wop in the ’50s,” (Stereogum). “The original group, first called the Domingoes, came together in the Detroit suburb of Ferndale in 1954. They released their first single in 1961 and joined the Motown roster in 1963, when Motown bought out all of the competing local label Tri-Phi. Even with the Motown machine behind them, the Spinners couldn’t score a top-10 single all through the ’60s. They came close once — 1970’s ‘It’s A Shame,’ which Stevie Wonder co-wrote with Lee Garrett and Syreeta Wright, peaked at #14. But the Spinners were consistently overshadowed by the other titans on the Motown roster, and they left the label for Atlantic in 1972. Atlantic paired the Spinners up with Thom Bell, and things started to click. All of a sudden, the Spinners had a bunch of hits. (Before ‘Then Came You,’ the Spinners’ highest-charting single was the 1972 Bell production ‘I’ll Be Around,’ which peaked at #3 … )

Warwick and the Spinners weren’t really a natural combination. They came from two different worlds. But early-’70s soul had absorbed some of the Bacharach/David aesthetic, that combination of orchestral flash and emotional depth. And on ‘Then Came You,’ they make sense together … written by Sherman Marshall and Philip Pugh, (it’s) a simple little trifle of a love song with a big hook … Warwick and the Spinners sing the beginning of the song together, making a sort of chocolate/peanut butter combination. But as the song goes on, they break apart, with Warwick doing the leads and the Spinners ad-libbing, pushing her on. Eventually, Warwick and Spinner Phillippe Wynne are jumping back and forth on each other, vamping hard.

But it’s the groove, more than the voices, that sells the song. There’s a central pulse to ‘Then Came You,’ one that nods toward disco without giving in to it. And there are all these great little Thom Bell production touches to it: a flanged-out wah-wah guitar, an itchy bongo ripple, a shivery string figure. All those things are there to serve the groove, which pushes relentlessly forward. Warwick and the Spinners just surf that groove, their voices dancing on top of it. That groove is what keeps ‘Then Came You’ memorable … ” In the middle of an interlude section that mimics the intro, the track features a whole-step key change at 2:12.

Peter Allen | Continental American

“In the 1970s, Peter Allen gained recognition both as a composer of romantic ballads such as ‘I Honestly Love You’ and ‘Don’t Cry Out Loud,’ and, contrastingly, as a flamboyant stage performer,” (AllMusic). Allen, an Australian, later served as an opener for Judy Garland. In 1970, Allen played his first show as a solo act at the Bitter End nightclub in Greenwich Village.

“Allen became interested in the trend toward introspective singer/songwriters in the early ’70s, and in writing more commercial music. Employed as a staff writer at Metromedia Records, he co-wrote ‘Jennifer’ with Carole Bayer Sager,” co-wrote “I Honestly Love You,” with Jeff Barry, (a #1 hit for Olivia Newton-John), and provided Melissa Manchester with the Top Ten song “Don’t Cry Out Loud” (co-written with Carole Bayer Sager). Rita Coolidge released a Top 40 hit with another Allen-Sager ballad, “I’d Rather Leave While I’m in Love.” Allen, Bayer Sager, Burt Bacharach, and Christopher Cross co-wrote the theme for the film comedy Arthur, which was a #1 hit for Cross in the fall of 1981 and won Allen and his fellow songwriters the Academy Award for best song. His songwriting career continued until he passed away from complications of HIV in 1992.

“Continental American (1974) was a dour singer/songwriter collection that used show business clichés in music and words to express a world view of regret and resignation.” Starting in G minor, the tonality of album’s title track flips over to the relative major (Bb) at 0:45. After another verse and chorus, an extended interlude starts at 2:25 in Bb mixolydian before a downward shift of tonality to A minor at 2:54, leading to the familiar flip to the relative C major. 3:34 brings a shift to Db major for another chorus, then upward again to D major at 4:o3 and yet again for another jump to C major for the tune’s multi-layered ending. Many thanks to regular contributor Rob P. for this intriguing tune!

Heatwave | Whack That Axe

“Rod Temperton,” (Heatwave’s keyboardist) “could write … Temperton might have been the brains, but the rest of the guys did a great job executing his vision,” (SomethingElseReviews). “Party bands have gotten so pre-fab these days, relying so much on sampling and studio help. Heatwave, however, was a real band. The musicians who played on stage were the same ones who played it in the studio, with a minimal amount of session players brought in for Central Heating (1977). The musicianship … makes this period music hold up so well to the present day.

The vocals, led by brothers Keith and the late Johnnie Wilder, were well above the pack, too. Keith’s harder-edged vocal was perfectly complimented by Johnnie’s velvet-smooth croon. In the studio, they often added layers upon layers of choral vocals that rivaled in richness to contemporaries Earth Wind and Fire.” The band formed in the UK but had a mixed roster of two Brits, two Americans, a Swiss citizen, a Czechoslovak national, and a Jamaican!

Built in C major overall, “Whack That Axe” (written by Temperton and sharing an album with one of the band’s three biggest hits, “Grooveline”) gently flips over to the relative A minor for the brief bridge (2:08 – 2:26).

Squeeze | Black Coffee in Bed

“Few bands who came of age in the late ’70s and early ’80s released music that has stood the test of time like the British outfit Squeeze was able to do,” (American Songwriter). “That’s because the band’s success had nothing to do with hopping on any musical trends. Instead, it was all about songwriting, which never goes out of style. With songs like ‘Black Coffee in Bed,’ they ensured their music would enjoy a lengthy shelf life. Squeeze’s founding duo of Tilbrook and Difford remain in the band today, about 50 years after they first met and began writing songs together. That process has also become a major part of the band’s lore. Basically, Difford writes the lyrics and hands them off to Tilbrook who then puts those words to a tune. Other than Elton John and Bernie Taupin, it’s hard to find any other rock songwriting partnerships of that type that have enjoyed as much success.

… ‘Black Coffee in Bed’ (1982) came to life when Difford noticed that a page on one of his writing notebooks had the outline of his coffee cup on it. That set him off on a twisting tale of a guy moving from one relationship to the next. Difford told American Songwriter he made sure to hold onto the notebook: ‘Yeah, I still have the notepad in my office. That’s how the opening lines always happen,’ he said. ‘In fact, I’ve been working on something today that came from a picture that I saw. That’s how a lot of songs start. You have to see something or visualize an image, and pick up a pen and off you go.'”

After two verses and choruses in D major, the tune shifts up to Eb major for a guitar-centric interlude 2:58. But at 3:07, we’ve already started a transition back to the original key, made completely clear by 3:16.

Barrett Strong | Money and Me

“In July of 1959, Berry Gordy was working with Motown songwriter and office administrator Janie Bradford on a new song,” (Motown Museum). “He explained to her the thing he wanted most at that moment was not love but money. (Vocalist) Barrett Strong was in the studio that day and heard them working. He took over the piano playing from (Motown chief) Berry Gordy, and together the trio created ‘Money (That’s What I Want).’ The song took off, reaching #2 on the US R&B charts, and almost broke the top 20 on US Pop charts. It was Motown’s first major hit, and no one was prepared. Requests were coming from around the country for a copy of the iconic song and the small Tamla label struggled to keep up.

While Barrett Strong released a few follow-up songs including ‘Yes, No, Maybe So’ (1960), he eventually left Motown in 1961 … Strong would not return to Motown as a performer, but he began to write for other artists, including countless songs in partnership with Whitfield. They penned the iconic ‘Heard It Through The Grapevine’ performed by both Marvin Gaye and Gladys Knight and the Pips, ‘War’ performed by Edwin Starr, and a slate of songs for the Temptations. His work helped usher in the ‘Psychedelic’ era for the Temptations, which included songs ‘Cloud Nine’ and Grammy-winning ‘Papa Was A Rollin’ Stone.’ Barrett Strong ended his working relationship with Motown in 1971, but his contributions to the company’s success would earn him induction into the Songwriters Hall of Fame in 2004. 

“Money and Me” (1959) is much more harmonically and melodically basic than most Motown tunes, but the tune’s compelling groove gives a hint of the great future in store for the iconic Detroit record label. After a start in F major, a half step key change hits after an instrumental verse (1:30). Another half step key change drops at 1:53 as the intro starts.

The Tubes | I Want It All

“Produced by Todd Rundgren, Remote Control (1979) is a concept album that could be seen as the next installment in Utopia, so similar are the two,” (Progrography). “Rundgren is credited with co-writing two songs (‘Love’s a Mystery’ and ‘TV Is King’), but his fingerprints are all over Remote Control, from the high-register choruses to the compressed and sped-up arrangements. Of course, sounding like Utopia isn’t a bad thing; in fact, this is probably my favorite Tubes album after their first. The album generated a legitimate hit (okay, in the UK) with ‘Prime Time,’ and should have had a second with ‘Love’s a Mystery (I Don’t Understand).’ If the reports are true that the band entered the studio with a concept but without any songs, then this record is a testament to the band’s creativity, because there isn’t a bad song in the batch.

Along with (Rundgren and Utopia albums) Adventures In Utopia, Healing, and Swing To The Right, Remote Control represents a sort of Rundgren renaissance for art pop fans between 1979 and 1982. The Tubes never made another album like it, and they never made a better one after it. If you haven’t heard this or the three Utopia/Rundgren records I just mentioned, turn off the TV tonight and turn on to some great music instead.”

Starting in B major with plenty of compound chords ringing out over the tonic pedal point, the chorus (0:40 – 0:55) shifts into D mixolydian; the most prominent building block at that point is a D/C chord until the next verse returns to B major. The pattern continues until the second portion of the bridge (2:14 – 2:45) in G# dorian before the chorus returns at 3:00 and fades to the end.

Bill Wurtz | Mount St. Helens Is About to Blow Up

“(Bill) Wurtz’s unique combination of absurd, surreal and non-sequitur lyrics and smooth jazz/pop/easy listening makes him quite difficult to classify as an artist, and I’m pretty sure he’s OK with that,” (TheProgressiveAspect.net). “Add to that his growing number of self-produced music videos featuring random imagery, signature neon text and careful synchronisation with the music and suddenly it feels like you’re in a different universe when listening to his songs. On an initial listen to one of his tunes, the bizarre lyrics really stand out: ‘Mount St. Helens is about to Blow Up’ (2018) features the lyrics:

‘All of these business suits that I’ve just purchased
Gonna have to throw them all away
And slip into something more reasonable and dance the night away.‘

The Beatles only wrote ‘I Am the Walrus’ once, John Lennon’s attempt to confuse listeners as to the meaning of his lyrics. Jon Anderson time and time again wrote faux-mystical lyrics about seasoned witches and sharp distances. But Bill Wurtz employs a different strategy, with lyrics that are grounded in reality, yet used in a non-sequitur fashion so that they resonate with nobody and everybody at the same time. You can spend hours puzzling over the patterns in his lyrics, which are generally positive but can, on a dime, evoke more unpleasant images: see ‘Outside’s’ Now I’m pregnant/With aliens. It seems that there are no rules, but Wurtz has managed to tread carefully and with precision to ensure that his lyrics are truly unpredictable and without any religious, political or any other sort of bias.”

Built in G major overall, the tune diverts to Eb major for the bridge at 0:49. At 1:12, we return to G major — a move that continues throughout, despite plenty of outright key changes and brief steps outside the key. For a much more detailed analysis of this tune’s 900-thread count fabric, we’re also including a video below from the brilliant and insanely fun theory wonk/educator Charles Cornell — very worth the time!

Seal | Dreaming in Metaphors

“The 1990s were a great decade for music,” (Sputnik). “While the output wasn’t always consistent, it was undeniable that there was quality abound. Such is the case for Seal, an oddity himself in that his nationality is officially British, while his mother was Nigerian and his father Brazilian (and he himself was born in Nigeria). As such, Seal, having had this interesting background, would go on to sell several million records during the 1990s; this (eponymous 1994) record being his most remembered one.

… Unlike such pop artists as Michael Jackson and Prince, Seal is hardly the upbeat or danceable type … Instead, he goes for a softer, melodic style, emphasizing a smooth groove, which serves his lyrics well. While his vocal rage is limited, it fits the music perfectly as well, which makes each listen a rather hypnotic experience. His music is not meant for parties at the disco, but for reflective listening. Nevertheless, his songs stick once you get a taste for them. Indeed, it’s fair to say that Seal is the best at what he does, and this album proves it very well. This isn’t music for pop haters, or for lovers of exclusively upbeat music. This is an album for personal reflection. If you dig some refreshing pop, with deep lyrics, and ballads that don’t feel sappy, this album is for you.”

A perfect example of one of Seal’s “sticky” songs might be “Dreaming in Metaphors.” Driven by a fast-flowing yet peaceful 7/8 meter, the track’s harmonic rhythm is generally pretty slow, centering the unusual meter, layered percussion, and vocal throughout. The intro and verse alternate intriguingly between F# minor and F lydian. At 0:56, the pre-chorus focuses only on F lydian. At 1:14, A major is prominently added into the mix, but the pull of F lydian remains.

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.