Tag: pop

Toad the Wet Sprocket | I Will Not Take These Things for Granted

“Toad was in the house last week — that’s Santa Barbara’s beloved (and probably most famous) homegrown rock band, Toad the Wet Sprocket, to those of you who are new to town,” (Santa Barbara Independent, 9/4/2024). “And as we’ve come to count on, they came … bearing gifts of lovely vocals, powerful chord progressions, familiar tunes, enthusiastic friends, family, and fans, plus a strong supply of feel-good vibes. 

With the seemingly ageless vocals of founding band members Glen Phillips, harmonizing with bass player/vocalist Dean Dinning, and guitarist/vocalist Todd Nichols, now backed by drummer Carl Thompson and Jon Sosin on keyboards, mandolin, accordion, and more, it was a solid evening of mostly well-known tunes … It’s hard not to think of Santa Barbara when you hear Toad sing ‘Walk on the Ocean,’ which Dinning told me was his favorite Toad song to play live.”

“I Will Not Take These Things for Granted” is the closing track of the 1991 album Fear, which opens with “Walk On the Ocean,” a single which reached #18 on the US pop charts. The track is built in A major overall, with a prominent bVII-I vamp making up much of the chorus. At 1:24, an alternate verse/pre-chorus(?) shifts to a purely diatonic F# major. 1:36 brings the first chorus and a return to A major. The pattern continues from there, with the exception of the alternate verse/pre-chorus, which returns at 2:52 which a longer duration than before. The tune ends with a long run in A major.

Dusty Springfield | Just One Smile

“Despite its status as a classic record, Dusty in Memphis (1969) had less than auspicious beginnings,” (BBC). “By 1968, Springfield had scored a string of chart successes with what she called ‘big ballady things’ and her decision to make an album in Memphis, home of hard edged R’n’B grooves, was viewed with puzzlement by many.” The distance from Springfield’s native UK to Memphis was large, both in miles and in sonic difference.

“Teaming up with the crack production/arrangement team of Jerry Wexler, Tom Dowd and Arif Mardin (responsible for Aretha Franklin’s Atlantic classics) also proved a bit much initially for Springfield, whose confidence in her vocal abilities was never very high … Springfield unsurprisingly resists any temptation to do an Aretha, instead relying on understatement, timing and delivery rather than vocal firepower. The songs (all by Brill building denizens) are all top notch, and Springfield’s interpretation of them is peerless … Mardin’s sensitive blend of Bacharach poise and Memphis funk provides the perfect frame for Dusty’s blue-eyed soul.”

Written by Randy Newman, “Just One Smile” was previously recorded by Gene Pitney. The tune starts in Eb minor, with plenty of harmonic sidesteps, a la the above mentioned Bachrachian influence. The tune then shifts to Bb major for the chorus (0:49 – 1:10) before reverting to the original key.

Was (Not Was) | Spy in the House of Love

It’s difficult to sum up the 80s cult favorite band Was (Not Was), founded in 1979 in Detroit by David Weiss and Don Fagenson, who adopted the unlikely stage names David Was and Don Was. “‘Don and I started recording in the Pleistocene Era, with Fred Flintstone producing,’ says David Was in the promotional materials accompanying the release of punk-funk band’s retrospective compilation Pick of the Litter 1980 – 2010,” (Slant Magazine). “… (The band) fashioned some of the most cracked, amusing, disturbing non-sequiturs of 1980s no-wave. The band’s early work straddled the dividing line between post-disco and arty punk, resulting in three propulsive smart-stupid underground dance tracks …

Still, Was (Not Was) seemed adamant to avoid being pigeonholed as brainy outcasts from Boogie Wonderland, and their following few albums would prove them to be adept musical scavengers, true Warholian kitchen-sink artists. Be it recruiting Ozzy Osbourne to drone-rap ‘You can’t sue Buddha for libel’ over a electro-pop ditty … or inviting Mel Tormé to croon an elegant piano lounge neo-standard about a boy named Zaz who nearly choked to death one night in the park, Was (Not Was) made invention its own reward … though Robert Christgau sort of had the band’s number when he backhandedly complimented ‘It’s worth five minutes on David Letterman,’ you have to remember, that was when Letterman was really, really cool.”

1987’s “Spy in the House of Love” featured the Was “brothers” on bass and keys, allowing their hand-picked band to take center stage. The synth-heavy textures betray the tune’s late-80s vintage, but the track’s pop-funk sensibilities rule the day. Thoroughly in keeping with the band’s eclectic reputation, the track hit #21 on the UK Singles chart, #13 on the Irish pop chart, #16 on the Billboard Hot 100, and #77 on Billboard’s Hot R&B/HipHop chart. It even reached #1 on the US Dance Club chart, but somehow still takes a back seat to the band’s terminally goofy “Walk the Dinosaur.” Starting in G minor, the track shifts up a full step to A minor from 3:33 – 3:50. The tonality then reverts to the original key — not directly but rather via a compelling double chromatic step-down. Don’t listen to the lyrics too closely unless you’re thoroughly prepared — file them under R for “restraining order!”

Many thanks to our regular contributor Rob P. for this wonderful submission!

Clay Aiken | Do You Hear What I Hear

“I always just feel more at home in the music and the sounds of the ’60s and the ’70s, and there’s so much great Christmas music that was made in those times. That’s what this album especially is about, ” singer Clay Aiken said in an interview with NPR about his latest holiday album, Christmas Bells Are Ringing, which as released this year.

“Do You Hear What I Hear” begins in D and modulates up to E at 2:58. There is another abrupt shift to B at 3:25.

Kelly Clarkson | You For Christmas

“You For Christmas” is the featured single and lead track on the reissue/deluxe edition of Kelly Clarkson’s 2021 holiday album When Christmas Comes Around…. The song, written by Clarkson, Andrew Wyatt and Mark Ronson, hit the #5 spot on the Adult Contemporary chart, and Clarkson performed it on the season finale of The Voice earlier this month.

The song begins in A and modulates up to B at 2:09.

Jennifer Hudson | Little Drummer Boy

Former American Idol contestant and youngest-ever EGOT winner Jennifer Hudson released her first holiday record this year, her first studio album since 2014. The Gift of Love features four original tunes and ten covers.  “What better way to come back than a Christmas album?” Hudson said an interview. “It’s been a dream of mine my whole career. I’m a holiday fanatic … so it just makes sense.”

“Little Drummer Boy” begins in D and shifts up to Eb at 1:40.

The Waitresses | Christmas Wrapping

Chris Butler, the songwriter and guitarist on The Waitresses’ cult classic “Christmas Wrapping,” (1981): “‘I was such a Scrooge. I hated Christmas! Also, I worked as a freelance journalist,” (The Guardian). “In December in New York, everyone with a job takes a long holiday, so I’d get offered work I was too poor to turn down. I’d have all this stuff to do when everyone else was having their eggnog. And I poured my sourness into this song. The first words I wrote down were: Bah humbug. The chorus went: Merry Christmas. But I think I’ll miss this one this year. It’s about two people alone at Christmas who meet while buying cranberry sauce, and get together. Of course, it had to have a happy ending – it’s Christmas! – but it was tongue in cheek. … I still get grumpy at Christmas. Every year, when I get stuck in traffic because of idiots buying crap for their unloved in-laws, that song always seems to come on the radio. And then I think: Lighten up, man, it’s Christmas.’”

Tracy Wormworth (bass and backing vocals): “‘At the time, Good Times by Chic was out; for bass players, Bernard Edwards’ badass bassline was iconic. I wasn’t trying to rip it off, but I was heavily inspired by it. I sat in the studio and worked out note for note what I would play. Like the band, the song is a real mix. I had no idea how catchy the song would prove to be. It would trip me out if I walked into a chain store and it was playing.”

After the second verse and second instrumental chorus (complete with its slightly off-kilter hook from the horns), a brief instrumental bridge shifts up a perfect fourth from 2:10 – 2:30. After reverting to the original key, the track’s bridge returns at 4:07 – 4:27 before a final extended chorus (this time with vocals proclaiming the hook!) wraps up the tune.

Delving into the track’s top-drawer bass line in wonderful detail is this video from bassist and music educator Paul Thompson:

Mike Curb Congregation | Burning Bridges (from “Kelly’s Heroes”)

Kelly’s Heroes (1970) featured Clint Eastwood “and a rowdy gang of G.I. goofballs including roughneck Telly Savalas, new agey Donald Sutherland, bitter wiseass Don Rickles and young, harmonica-playing, exactly-the-same-looking Harry Dean Stanton (credited as Dean Stanton). It kinda feels like one of those fun ensemble war pictures like The Dirty Dozen or The Great Escape, except the idea behind it is much more cynical,” (OutlawVern.com). “Clint plays Kelly, a once great soldier, demoted and disillusioned after an incorrect order caused him to blow up some of his own men. When he finds out about a stash of gold bars in a German bank, he finally has a mission he can believe in again.

… The theme song ‘Burning Bridges’ (is) performed by The Mike Curb Congregation. Curb … scored The Wild Angels and The Born Losers … and was also the president of MGM Records. ‘Burning Bridges’ was the Congregation’s biggest hit (#1 in Australia!), though they also had some success with a version of ‘It’s a Small World’ from an album of Disney covers, (and) were featured on Sammy Davis Jr.’s version of ‘The Candy Man.’ … I thought the cornball vocals of ‘Burning Bridges’ added kind of a flower children-y touch to the movie, but I’m not sure Curb would like that characterization. In the same year Kelly’s Heroes came out, he made a splash by dumping The Velvet Underground and other groups from MGM because he thought they promoted drugs. In 1978, Curb was elected lieutenant governor of California, a Republican working under Jerry Brown. Still, the Congregation found time to record ‘Together, a New Beginning,’ the theme song for Ronald Reagan’s successful 1980 presidential campaign. So, not really the hippie I took him for.”

In Curb’s version, half-step key changes hit at 0:58 and 1:40. Keep scrolling for a mellower version (performed by Clint himself) which features an artier V/IV upward half-step shift at 1:55 and skips the second modulation of the original. Clint’s version wasn’t in the movie itself, but was also released as a single. Many thanks to our regular poster Rob P. for this submission!

Orange Guava Passion | Eagletown

“Eight Brown University students united by an undying love for all things groovy” is how Orange Guava Passion is described on Spotify. “Named after a juice offered in the Sharpe Refectory, Orange Guava Passion oozes Brown influence: youthfulness, idiosyncrasy and an aversion to the cardinal sin of taking oneself too seriously,” says a write-up in the Brown Daily Herald. “Their lyrics fill the bingo card of things stereotypical liberal arts college students enjoy, from Subarus to Trader Joe’s.”

“Eagletown,” released in 2020, is one of the group’s three singles. The track begins in F and shifts up to G at 3:16. There is a final modulation up to A at 3:49.