Tag: pop

Laura Mvula | Show Me Love

“Taken from Mvula’s latest release The Dreaming Room, ‘Show Me Love’ is an incantatory, gospel-tinged art-pop hymnal that drifts from moments of deep personal introspection to fissions of out-of-body spiritual awareness,” (Pop Matters). “The climactic eruption of orchestration is startling in its intensity; over it, Mvula repeats the title phrase over and over and over again, trying to stretch it out, to discover its true contents and phonetic subtleties.

… She seems to channel the ethereal qualities of Bjork or Kate Bush. Her voice fits the gorgeous arrangement perfectly, and the lack of a consistent, thumping beat really works to the song’s advantage. Eventually, things build up toward the end, creating something unique and majestic. The vocals and production are constantly intriguing while enhancing the piece’s natural beauty. The mechanized vocals create a beautiful contrast with the lush strings and glorious brass sections near the end.”

Mvula’s career has taken more hold in her native UK than in the US, but she’d certainly be an intriguing addition to the US charts. Co-written by Mvula and Laura Pauline Amanda, “Show Me Love” (2017) starts in F major, but gently shifts to D major at 1:25. The original key returns at 1:50 as the momentum and volume begin to build. The keys continue to alternate throughout.

Fee Waybill | I Don’t Even Know Your Name

“Read My Lips was the debut album of The Tubes’ lead singer and main songwriter, Fee Waybill,” (FozFan). “Released in 1984, Read My Lips was produced by David Foster and sounded like a textbook for the most refined AOR (Adult Oriented Rock). Foster brought his usual dream team to work on the record including famed engineer Humberto Gatica and hot session aces including Jerry Marotta, John Robinson and the late Jeff Porcaro (1954 – 1992) on drums, Larry Klein on bass, with Steve Lukather and Michael Landau playing guitars.

Lukather, the legendary Toto axe-man, played a big role on Read My Lips by co-writing the bulk of the album with Waybill and Foster. Already responsible for The Tubes’ one-two chart punch of ‘Talk to Ya Later’ and ‘She’s a Beauty,’ the trio of writers came up with a series of solid rock numbers that were channeled through the Hitman’s trademark high-tech atmospheres and showcased various funk and pop influences … the album’s power ballad, ‘I Don’t Even Know Your Name (Passion Play)’, another Foster/Waybill/Lukather co-write, was a killer rock ballad in a catchy style not too far from Lukather’s own legendary band Toto … The veteran singer probably doesn’t have as distinctive a voice as other rock stars, but his passion and strength make up for it … (it’s) easy to understand the chart potential of Read My Lips. All its musical qualities and radio-friendly appeal were killed by Capitol Records’ inexplicable decision to give the album zero support at a time when Foster ruled the North American charts.”

“I Don’t Even Know Your Name” begins in Eb; 0:50 brings a shift upwards to F major for the second section of the pre-chorus. The tune’s power ballad creds start to show as the chorus grows from 1:00 in Db major. At 1:29, Verse 2 begins, again returning to Eb. A bridge in B major begins at 2:44; at 3:18, the chorus returns, this time in E major, repeating into the faded ending.

Clara Ward | Smile

“Widely acclaimed among the greatest soloists in gospel history, Clara Ward was also the subject of much criticism from purists — with her backing group, the Ward Singers, she pushed gospel out of the church and into the nightclubs, infusing the music with a shot of glitz and glamour the likes of which had never before been seen,” (AllMusic). “Decked out in colorful gowns, towering wigs, and dazzling jewelry, the Wards sang only the biggest pop-gospel hits, flamboyantly delivered for maximum commercial appeal … At their creative peak, the group was a true phenomenon, combining superb soloists, exceptional material, and innovative arrangements to leave an indelible mark on the generations of spiritual performers who followed.

While her gorgeous alto was the centerpiece of hits like ‘How I Got Over,’ arguably Ward’s greatest strength was as an arranger; ‘Surely God is Able,’ the group’s biggest hit, even introduced a new waltz rhythm into the gospel lexicon … The consensus pick as the best hymn singers in the business, the Wards also rejected the homespun choir robes of the past in favor of elaborate costumes — according to legend, on one occasion their infamous wigs grew so tall that they actually touched the ceiling. Throughout the ’50s, they were among gospel’s elite, scoring more hits and making more money than any group before them.”

To give the full picture of just how much of a departure into secular music 1966’s “Smile” was for Clara Ward, check out The Wards’ recording of “Surely God Is Able,” perhaps their most well-known release (below). Built in Eb major, the brief interlude of “Smile” (1:23 – 1:35 ) shifts into F major before returning to the original key. Originally co-written for the 1936 film Modern Times by its star, Charlie Chaplin, the track is more frequently performed as a ballad — but Ward’s decision to deliver the tune as a more up-tempo pop tune gave it new dimension.

Gal Costa | Esquadros

“Following a US-backed military coup in 1964, many young artists in Brazil – disillusioned with the apolitical nature of bossa nova – searched for a music that would speak to their contemporary world,” (UDiscoverMusic). “By the late 60s, a group would answer the call through a movement known as Tropicália. These artists – chiefly Caetano Veloso, Gilberto Gil, Os Mutantes, and Gal Costa – sought a ‘universal sound’; a merger of local and international styles that was both cosmopolitan and distinctly Brazilian. Their fusions of bossa nova, psychedelia, and rock ’n’ roll remain totally unique.

Costa began her career as a bossa nova singer before joining the ‘tropicalists’ in 1968 … Atop soaring string arrangements, Costa’s voice holds a powerful tenderness. Depending on one’s interpretation, it’s either unashamedly sentimental and detached from its political context, or an intentionally saccharine, ironic rebuke to consumerist society. Veloso’s lyrics are typically oblique, allowing for either reading to make sense … If there was one guiding principle of the Tropicália movement, it was the freedom to be many things at once. Their music was both popular and avant-garde, politically principled but undogmatic, distinctly Brazilian but syncretic, lyrically piercing but ambiguous.”

After a sunny start in B major, “Esquadros” (Squares), released in 1999, shifts to the parallel B minor from 1:11 – 1:23, bolstered by beefier groove, before returning to the original key. The key alternates many more times throughout, but the increasingly unsettled, unresolved instrumental outro (starting at 3:20) erases any memory of the tune’s major key sections!

Nik Kershaw | What the Papers Say

“After releasing two albums in the space of barely six months, Kershaw took his time over the third,” (Moving the River). “He settled in to North London’s Swanyard Studios for most of 1986 to work on the self-produced Radio Musicola (1986), employing the cream of the English session scene (The Kick Horns, Charlie Morgan, Mark Brzezicki, Wix, Andy Richards, Simon Phillips, etc). Yes, Musicola was Kershaw’s chance to take on the Trevor Horns of this world and deliver a big-budget, endlessly-fussed-over studio ‘project’… Perhaps unsurprisingly, given his meteoric rise to fame, the main themes of the album are press intrusion and tabloid sensationalism.

… An interesting album which clearly fell between the stools of art and commerce, Radio Musicola reached a barely believable #46 in the UK album chart, just over a year after Kershaw had played Live Aid. It disappeared without trace in the US … 18 months is a long time to leave between albums when you’re hot, though Kershaw didn’t seem bothered about his new ‘selective’ popularity; in fact, he seemed genuinely relieved, but wondered how MCA were going to sell him now that he was focused on being a musician rather than a pop star.”

“What the Papers Say” begins with an intro in A minor, followed by an unprepared jump to F# minor at 0:15 and a shift to Bb major at 0:30. But as the chorus begins at 0:45, despite the percolating tonality shifts, the return to A minor somehow still (sort of) feels like home. The unsettled pattern continues throughout, all the way to the off-kilter, unresolved ending — entirely appropriate for the tone of Kershaw’s lyrics:

I saw it on the newsstand, it shouted at me!
It said, “We are all good and they are all bad”
Well drive me to the clinic ’cause it’s driving me mad

James Taylor | Line ‘Em Up


“He’s seen fire, he’s seen rain,” (Santa Barbara Independent). “He’s seen sunny days he thought would never end, and lonely times when he could not find a friend. And James Taylor is in the ongoing journey of a career spanning six decades and stoking a reputation as a pioneer singer-songwriter known for hiring a good band and putting on an engaging live show.”

At a show in Santa Barbara this month, “He also joked, ‘From the beginning, I’ve been writing end of my life in show business songs.’ Thankfully, those were not self-fulfilling prophecies. He has also been writing songs taking on many subjects, not just recovery or romantic concerns: his tune ‘Line ‘Em Up,’ for instance, takes as its thematic angle Richard Nixon’s fateful departure from his White House tenure. Introducing the song, Taylor half-joked, ‘I never thought I’d hear myself say, I miss Richard Nixon.”

Hourglass, Taylor’s 1997 album, saw strong commercial success, reaching #9 on the Billboard 200. The album also won Taylor a Grammy (best Pop Album, 1998), his first since the 1977 smash hit JT. Built primarily in G major, the tune shifts to D minor for its early bridge (1:37 – 2:09) before reverting to the original key.

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.