pop – Page 57

Level 42 | The Sleepwalkers

“When (Mark) King formed Level 42 … they were jazz-funk aficionados, deep into Miles Davis, John McLaughlin and Keith Jarrett,” (ClassicPopMag.com). “While this was sonic worlds away from the pop terrain that became their regular stomping ground in the 80s, (bassist) King had been a fan of music of all kinds at eight years old – and his first vinyl purchase was a Cream album … ‘I was only really trying to do what I’d been hearing coming across from America… I’d been listening to Stanley Clarke and Larry Graham … The idiom they were thumping the music in wasn’t as broad a spectrum as pop, so I’d somehow managed to leap the fence with that, and we were straight out into the pop mainstream. It happened to coincide with our first European tour, when we opened for The Police.'”

AllMusic sums up the band’s progression from its inception to its biggest hit-making days: “At the beginning of their career, Level 42 was squarely a jazz-funk fusion band … By the end of the ’80s, however, the band — whose music was instantly recognizable from Mark King’s thumb-slap bass technique and associate member Wally Badarou’s synthesizer flourishes — had crossed over to the point where they were often classified as sophisti-pop and dance-rock, equally likely to be placed in the context of Sade and the Style Council as was any group that made polished, upbeat, danceable pop/rock.”

1987’s “The Sleepwalkers” was a track from Running in the Family, which became a top ten album for the year in Canada, Germany, Switzerland, Australia, the Netherlands, Sweden, Norway, and New Zealand — with a #2 berth in the UK, as well, although the release only hit #23 in the US. Like so much of the band’s output, the tune is a multi-layered machine, built around a percolating bass line, an up-the-neck funk guitar, several strata of synth sheen, and clock-like drums. After starting in Ab major, the tune makes an unlikely tritone leap to D minor with a syncopated kick of backing vocals at 1:00 for the chorus. At 1:23, we revert to the original key; the pattern is maintained throughout.

LeAnn Rimes | Can’t Fight the Moonlight

Written by Dianne Warren and recorded by LeAnn Rimes, “Can’t Fight The Moonight” was originally featured in the 2000 film Coyote Ugly, and subsequently appeared on Rimes’s 2002 compilation album I Need You as well as various greatest hits/best-of releases. The track cracked the top 10 in 19 European countries, and hit the #11 spot on the Billboard Hot 100 in the US. Billboard’s review called the song “[Rimes’s] most compelling pop offering yet–and one of the more intriguing compositions of late from songwriter superwoman Diane Warren.”

Warren herself claimed she had never written a song with so many key changes, and it does indeed bounce around. Following an intro that deceptively appears to set up C minor, the first two verses are instead set in B minor, and alternate with the C-minor chorus at 0:52. A bridge-like interlude begins at 2:25 that passes through both keys before modulating to C# minor for the final chorus at 2:25.

The Beatles | And I Love Her

First time contributor Galen Cruess, in his submission of The Beatles’ 1964 hit “And I Love Her” from the album A Hard Day’s Night, writes: “It’s a unique acoustic song sung and written mostly by Paul McCartney that reflects his more ballad-like songs. Elements like George Harrison’s introductory riff, arpeggiated chords during the verses, and Ringo’s use of bongos and clavés give the song a different sound that is only heard in a few other Beatles songs, such as ‘Til There Was You’ and ‘Michelle.'”

“Before the soundtrack to (the movie) A Hard Day’s Night burst on the scene, Paul’s songwriting was mostly encompassed within the framework of writing ‘eyeball to eyeball’ (as Lennon would call it) with John in collaborative efforts,” (BeatlesBooks.com). “When he did faction off to write by himself, the songs would be rockers, such as ‘I Saw Her Standing There’ and ‘Can’t Buy Me Love.’ His reputation as a ‘balladeer’ began with the inclusion of ‘And I Love Her’ on the movie soundtrack album. This soft, acoustic sentimental love song stuck out like a sore thumb and made everyone take notice of what this long-haired British rock group was capable of.”

After a start in F# minor the key raises a half step to B minor at 1:30 with George Harrison’s solo on classical-style nylon string acoustic guitar. The tune ends on a striking major chord (piccardy third).

Culture Club | Time (Clock of the Heart)

“Time (Clock of the Heart)” wasn’t released on the debut Culture Club album Kissing to be Clever; “it was a stand-alone single that proved another smash hit and was later added to the album in America.” (Diffuser.FM) “In the process, Culture Club pulled off a pretty amazing feat, becoming the first UK band since the Beatles to have three singles from a debut album make the Top 10 in America. Despite the grand success of the music, for many the look often overtook the sound as the media began a love affair with the band, and George in particular. ‘People felt there was something really happening,’ said Culture Club drummer Jon Moss. ‘I think that was the main thing. People would look and say, Blimey, what is this?‘”

In a GQ interview, George recalls he “was obsessed with music as a little kid, that was where I escaped to. I shared a room with my four brothers and most of the time I didn’t have the room to myself, so whenever I could I would have the record player on. I’d listen to everything from Irish show tunes to early Bowie, T. Rex and disco. Discovering Bowie was the ‘Whoa, that’s what I want to be’ moment. I was 11 and somehow my dad got me a ticket to see Ziggy Stardust.”

“It was kind of almost overnight for us,” he said in a 2015 interview. “You know, one minute we were an unknown band that literally couldn’t get signed, but once we got on TV, it was the public, more than anything, that decided they liked us and I think that’s always been the case.”

Starting in G minor, the 1982 single features a short instrumental bridge at 2:26 in Bb minor before settling into the next chorus at 2:43.

Various Artists | Expo 2020 Dubai Theme Song: This Is Our Time

ShareAmerica explains that “world Expos are global gatherings of nations that welcome tens of millions of visitors and include country pavilions that transform their host cities for years. The Dubai Expo will be the first held in the Middle East … The six-month event will open this month, following a one-year postponement because of the COVID-19 pandemic.” The USA Pavilion’s exhibits will include “moon rocks, a Mars rover and Thomas Jefferson’s Quran.”

Written by Joseph Dickinson and Lucy Torchia, the Expo’s expansive, anthemic theme “This Is Our Time” was recorded in on several continents: Las Vegas, Dubai, Macedonia, Egypt, and the UK. The primary performers were Emeratis Hussain Al Jassmi and Almas, as well as Mayssa Karaa, an American born in Beirut, Lebanon. The tune modulates up a whole step at 3:37.

Many thanks to our busy contributor Ziyad, who is from the UAE.

Sheena Easton | Morning Train (9 to 5)

The 1980 hit “Morning Train (9 to 5),” written by Florrie Palmer and recorded by Scottish singer Sheena Easton, rose to the top of the U.S. adult and contemporary charts and was certified gold. Originally released in the UK with the title “9 to 5,” it was re-named “Morning Train” upon its US release to avoid confusion with the Dolly Parton hit, which was released that same year. The track has since been featured in numerous TV shows including Will & Grace, Good Girls, and South Park.

Characterized by a driving, insistent quarter note pulse, the tune begins in G major before smoothly transitioning to C for the opening verse at 0:18, and subsequently alternating between C and G for the verses and choruses respectively.

Nancy Sinatra | Highway Song

“Best known for the empowering 1966 chart-topper ‘These Boots Are Made for Walkin’,’ Nancy Sinatra managed to create a sound and style all her own, fully separate from that of her famous father” (AllMusic). “She returned to the singles chart with her fusion of rock, country, and pop over a dozen more times … Though Sinatra last reached the U.S. Hot 100 in 1969, her strong-willed, go-go boots-wearing persona endured through acting roles alongside Elvis Presley and Peter Fonda, a 1981 country album with Mel Tillis (Mel and Nancy) (and) a memoir (1985’s Frank Sinatra, My Father) …”

In the late 60s, she worked with Lee Hazlewood on what became a string of hits — most notably ‘These Boots,’ which garnered three Grammy nominations and went gold. Hazlewood is said to have suggested to Nancy, “‘You can’t sing like Nancy Nice Lady anymore. You have to sing for the truckers.’ She later described him as ‘part Henry Higgins and part Sigmund Freud,'” (Financial Times).

Certainly representative of Sinatra’s sound but not a single until 1970, “Highway Song” (originally released in 1967) charted only in the UK, where it reached #21. The tune modulates up a half step at 2:01. Many thanks to Jamie for this contribution!

Electric Light Orchestra | Mr. Blue Sky

Jeff Lynne, who essentially is Electric Light Orchestra (ELO), wrote and produced “Mr. Blue Sky,” which was recorded for the UK band’s Out of the Blue album in 1977. “The song forms the fourth and final track of the ‘Concerto for a Rainy Day’ suite, on side three of the original double album, and was later released as a standalone single,” (SmoothRadio.com). ELO’s mix of modern production, tips of the hat to Beatle-esque songwriting, and unapologetic earnestness was popular with the public: RockFandom.com reports that “from 1972 to 1986, ELO accumulated 27 Top-40 hit singles in both the UK and the US. The group also scored 20 Top 20 UK hit singles, as well as 15 Top-20 hit singles in the US . The band also holds the record for having the most Billboard Hot 100 Top 40 hits of any group in US chart history without ever having a number one single.”

“Lynne has said that he wrote ‘Mr Blue Sky’ after locking himself away in a Swiss chalet, and attempting to write ELO’s follow-up album to (the 1976 release) A New World Record (Smoothradio.com). ‘It was dark and misty for two weeks, and I didn’t come up with a thing,’ he told the BBC. ‘Suddenly the sun shone and it was, Wow, look at those beautiful Alps. I wrote it, and 13 other songs, in the next two weeks.'” The tune reached only #6 on the UK pop charts and only #35 in the US, but retroactively has become a classic: “it has since become ELO’s signature song, and has been one of the most downloaded and streamed songs of the 1970s” and has been featured in many TV and film productions, including Eternal Sunshine of the Spotless Mind, Guardians of the Galaxy Vol. 2, and Doctor Who.

Written mostly in an emphatic F major, 3:43 brings an extended instrumental outro. Starting in Db major, the outro heavily features two ELO signatures: choir and strings. At 4:24, a section in Eb major further demonstrates Lynne’s unique approach of adding classical music conventions to a rock/pop sound — the rock instrumentation falls away entirely. Many thanks to our our regular contributor JB for this submission!

Whitney Houston | Miracle

“Miracle,” featured on Whitney Houston‘s 1990 album I’m Your Baby Tonight, was her 13th top ten hit, reaching the ninth slot on the Billboard Hot 100. While many interpreted the song to be about a girl who regrets having an abortion, Houston denied this was the case. “I think about the air we breathe, the earth we live on. I think about our children, ” she said in an interview with Jet magazine. “I think about a lot of things, things God put here for us to have, things that we need and we take for granted. I think all of these things are miracles and I think we should try to take better care of them.”

The track modulates from Gb to G at 3:53.

Anne Murray | A Little Good News Today

Canadian performer Anne Murray’s “A Little Good News” was written nearly four decades ago (1982), but its sentiment still resonates clearly today. “Written by Tommy Rocco, Charlie Black, and Rory Bourke, the heartfelt country ode finds Murray singing about one’s despair over the inhumanity, cruelty, and distress she often reads about in newspapers and hears on the news,” (CountryThangDaily). “Charlie Black remembered the day they wrote the song. The three songwriters were sitting around with their cup of coffee while watching [coverage about] the 1982 Lebanon War … and every news story was worse than the one past it, making them shake their heads of how bad things were. It was at that moment when Black said, ‘Wow, we sure could use a little good news today.’”

Anne Murray released the song in 1983 as the lead single from the album of the same name. A true crossover track, it reached #1 on Billboard’s Hot Country Songs chart, sustaining that rank for 20 weeks — but also reached #11 on Billboard’s Adult Contemporary chart and #74 on Billboard Hot 100. The tune was awarded a Grammy for Best Female Country Vocal Performance and the Country Music Association’s Single of the Year.

There’s an early unprepared half-step modulation at 1:39. Many thanks to Ziyad for another great submission!