Tag: r&b

Stevie Wonder | Summer Soft

AfroPunk praises Stevie Wonder’s “Summer Soft” from his legendary 1976 album Songs In the Key of Life: ‘“You’ve been fooled by April, and he’s gone. Winter is gone,’ sings Stevie Wonder atop spiraling instruments. If you could create a song that encompasses the calm excitement of watching nature at the park — or on Netflix — that song would be Stevie Wonder’s ‘Summer Soft.’ It’s a cathartic epic about life and loss, using the changing seasons as a metaphorical backdrop, with Wonder’s voice sounding more pained with every passing verse, but … the production blooms.”

The track was one of so many singularly strong tunes on this celebrated album. From Pitchfork‘s review: “Songs in the Key of Life was the culmination of a historic period of creativity for Stevie Wonder. Its ambition and scope were unprecedented, and he never approached its caliber or impact again. Stevie Wonder’s legacy ranks among the most powerful in pop music, though his story remains elusive. His songwriting and his voice echo through virtually all R&B-related sounds that have followed him … yet there is no major biography, no documentary, nothing that presents the full sweep of the most dominant and defining artist of the 1970s. And make no mistake—it was an era of superstar acts and chart-busting albums, but no one was as universally loved, respected, and honored as he was.”

After the tune starts in F# major, the first chorus (1:02) shifts to B minor, but then drifts back to the initial key for the next verse. At 2:17, a half-step modulation hits not at the start of a new section, but rather on the last note of the pre-chorus, transitioning to B minor — a pattern that’s repeated. Thereafter, the lid blows off as the tune winds up more and more, though it’s difficult to pinpoint a specific apogee of the energy. At 3:32, the tonality of the final chorus stabilizes, leading us to an instrumental outro; there’s a fade in volume (in high 1970s fashion), but no lag in energy.

Toussaint McCall | If I Had a Hammer

Toussaint McCall, born in 1934 in Monroe, Louisiana, is an American R&B singer and organist. “At times a stirring soul balladeer, organist, and vocalist, Toussaint McCall doesn’t have a lengthy string of hits,” AllMusic reports. “But his 1967 version of ‘Nothing Takes the Place of You’ was among that year’s finest performances. It gave McCall his lone R&B hit, reaching number five … He continued performing and recording for Southern independent labels, and made a cameo in the 1988 John Waters film Hairspray.”

The seminal folk song “If I Had a Hammer” was written by Pete Seeger and Lee Hays. According to the site Hymn Wiki, the tune “was written in 1949 in support of the progressive movement, and was first recorded by The Weavers, a folk music quartet composed of Seeger, Hays, Ronnie Gilbert and Fred Hellerman, and then by Peter, Paul and Mary.”

McCall’s cover of the tune (date unknown, likely the 1960s) adds an mid-tempo R&B feel to the classic, featuring what is likely his B3 organ playing as well. Half-step modulations hit at 0:44, 1:14, and 1:45. Thanks to our champion guest poster JB for this find!

Tower of Power | Get Yo’ Feet Back On the Ground

“A renowned horn-driven outfit, Tower of Power emerged in the late ’60s playing a dynamic blend of R&B, soul, funk, and AM pop,” according to AllMusic’s collective bio. “Along with the similarly inclined Chicago and Blood, Sweat & Tears, Tower of Power helped push the sound of brass-infused music into the rock era. Led by Detroit-born tenor saxophonist Emilio Castillo, the Oakland, California-based group scored hits like ‘You’re Still a Young Man’ and ‘What Is Hip?’ throughout the ’70s. They also became one of the most sought-after backing ensembles in pop, playing on recordings by Elton John, Santana, Bonnie Raitt, Aerosmith, Josh Groban, Huey Lewis, Little Feat, David Sanborn, Michelle Shocked, Paula Abdul, Aaron Neville, Aerosmith, Public Image Ltd., and many others.”

The band’s origins date back to 1967, Oakland, CA, and a different name, “The Motowns.” In an interview with American Highways, Castillo discussed his relationship to the funk sound that is the foundation of ToP: “Ever since I was a teenager, I have always liked to mess with the rhythm of the music. I used to make up these weird percolator kind of beats and dictate them to my brother, who was the drummer at the time, and make him learn them.” The same process applied to the bassist, guitarist, and keyboardist: “So it’s kind of like when it comes to music, I try to build a little building and make a fabric that breathes.”

From ToP’s self-titled third album (1973) comes “Get Yo’ Feet Back On the Ground.” This multi-tiered funk romp was not a single (unlike “What is Hip” and “So Very Hard to Go” from the same album), yet qualifies as far more than filler. A very late modulation shifts the key up a half-step at 4:26.

The Subdudes | Next to Me

“Next to Me” is featured on the 2006 album Behind the Levee by American roots/rock group The Subdudes (and produced by Grammy-winning blues artist Keb’Mo’). Based in New Orleans, the group synthesizes folk, cajun, blues, and country influences, and substitutes a tambourine player for a drummer.

The tune subtly modulates from A to B at 3:00. Thanks to Carol Cashion for this submission!

The Supremes | Baby Love

Considered to be one of the most popular songs of the second half of the twentieth century, “Baby Love” was recorded in 1964 by The Supremes for their album Where Did Our Love Go. The track, with Diana Ross on lead vocals, was the second of five consecutive #1 hits for the group, and was nominated for Best Rhythm & Blues Recording at the 1965 Grammy Awards. There is a half-step modulation from C to Db at 1:34.

Bee Gees | Too Much Heaven

Originally written to be the Bee Gees‘ contribution to the “Music for UNICEF” concert in 1979, “Too Much Heaven” became one of the band’s most popular songs, the fourth of six consecutive #1 hits for the group in three years. Featuring the distinctive, high falsetto timbre the Bee Gees are known for, the track includes nine layers of three-part harmony, as well as a guest appearance by the horn players of the American rock band Chicago. Key change at 3:30.

Earth, Wind + Fire | You

“Earth, Wind & Fire were one of the most musically accomplished, critically acclaimed, and commercially popular funk bands of the ’70s,” proclaims AllMusic. “…EWF’s all-encompassing musical vision used funk as its foundation, but also incorporated jazz, smooth soul, gospel, pop, rock & roll, psychedelia, blues, folk, African music, and, later on, disco … More than just versatility for its own sake, EWF’s eclecticism was part of a broader concept informed by a cosmic, mystical spirituality and an uplifting positivity the likes of which hadn’t been seen since the early days of Sly & the Family Stone … at their best, Earth, Wind & Fire seemingly took all that came before them and wrapped it up into one dizzying, spectacular package.”

After several chart-topping albums in the late 70s, in particular the late-70s smashes All ‘n All (triple platinum) and I Am (double platinum), the band released Faces in 1980. “You,” Faces’ fourth single, reached #10 on the Billboard Hot R&B Singles chart and #30 on the Adult Contemporary Songs chart. Like “After the Love Has Gone,” EWF’s quintessential power ballad, “You” was co-written by David Foster.

After starting in G major, 1:13 brings the chorus in E minor; halfway through the chorus (1:27), the tonality folds in on itself and we’ve landed in G# minor. At 1:45, verse two starts, but we’re now elevated up a whole step (A major) relative to the first verse — likely unnoticed due to the overall harmonic sleight of hand! A 2:40, the chorus arrives again, this time to stay: it morphs into an extended outro. The outro centers around three two-chord pairs (F# minor/B minor; A# minor/D# minor; and D minor/G minor), all compellingly connected by half-steps. The three sets, repeating and fading to the end, essentially form a gigantic hemiola effect over the 4/4 time. Many thanks to our faithful mod sender-inner JB for this tune!

Sarah Niemietz | All Your Love

Sarah Niemietz is a singer, guitarist, and songwriter with a varied career in music, film, and musical theatre. Though young and at first glance unassuming, Niemietz possesses an extraordinarily rich and soulful voice, with which she explores a wide range of musical genres. While her upbeat funk tunes generate extraordinary energy, her slower acoustic pieces can be just as evocative as well. She has displayed her powerful voice, clever lyrics, and on-stage charisma through several albums and collaborations with a wide variety of artists. According to her IMDB biography, her work with Youtube powerhouse Postmodern Jukebox included two European tours and several extraordinarily popular videos. She has also collaborated with Scary Pockets, a Youtube channel which specializes in unique arrangements of well-known tunes.

Meanwhile, her most recent album is a live collaboration with songwriter W.G. Snuffy Walden. One of the tunes from that album is “All Your Love,” which begins in E major. However, at the 2:10 mark, Niemietz modulates up a whole step to F# major and brings us back to her steady groove to finish out the tune. Hope you enjoy!

George Benson | Nothing’s Gonna Change My Love For You

Written by Michael Masser and Gerry Goffin, “Nothing’s Gonna Change My Love For You” was originally recorded by George Benson for his 1985 album 20/20. The track hit #1 on the charts in Canada, France, Ireland, and Spain, and was also included of a 1987 episode of the daytime soap Days of our Lives. The first of several key changes is at 2:45.

Buckshot Lefonque | Phoenix

Saxophonist, composer, and former Tonight Show with Jay Leno bandleader Branford Marsalis has long been a proponent of musical egalitarianism. Born into one of the most prominent families of jazz artists in the US, he’s kept a foot in that style while also performing R&B, classical, rock, and more. From Marsalis’ website: ” … there will be those who insist on sorting even the most adventurous music into neat and compact categories. Fortunately, Branford Marsalis will always be around to shove his square pegs into their round little pigeonholes.” Marsalis has collaborated with Sting, the Grateful Dead, Bruce Hornsby, his brothers Wynton and Delfeayo and his father Ellis, Dizzy Gillespie, Bela Fleck, and dozens of others; won a Grammy in 1993 for Best Jazz Instrumental Performance, Individual or Group for his album I Heard You Twice the First Time; and released a trio album, Bloomington (1993), which was hailed as a landmark in contemporary jazz.

Using a name which served as a pseudonym for jazz saxophone great Cannonball Adderly when he was moonlighting on pop and R&B records in the 50s, Buckshot LeFonque “blends rock, hip-hop, jazz, reggae, and African elements. In summing up his thoughts on what has been one of the most musically diverse projects he has yet undertaken, Marsalis says, ‘We took some interesting left turns… which is what I expected.’ The members come from widely diverging backgrounds yet find common ground … ‘You might get on the tour bus one day and hear Italian opera; the next day you’re hearing hip-hop.’ Singer Frank McComb agrees. ‘Everybody gets to stretch out in his own way. Everybody is an artist in this band and not just a backer. We’re all loose, free and easy.'”

McComb, a solo artist in his own right, covers the vocals on “Phoenix,” a slow ballad from the band’s second album, Music Evolution (1997). The track ramps up its energy gradually — at first. With a seemingly devastating breakup in the rear view mirror, the protagonist unflinchingly revisits the pain, then gathers strength to move on. The transition in point of view is matched by a brightening of the tonality: starting in F# minor, a huge shift to to F# major declares itself at 4:46, leading to an ending on an unresolved yet hopeful IV/V.