Tag: soundtrack

If I Sing (from “Closer Than Ever”)

“The angst of American middle-age – when many of us question the paths we’ve taken and the ones we’re moving toward – has never been as tuneful as in the (1989) show Closer Than Ever,” (WHYY). “The smart, sophisticated musical revue opened Off-Broadway (35) years ago, when we had yet to know the real power of a pixel and only the birds sent a tweet. But Closer Than Ever is as current today as it was then … It consists of 24 songs – a dozen in each act – that reflect the cycles running through most (and maybe all) of our lives: staying in love or not, parenting, parenting your parents, figuring out what the right thing is and doing it, doing the wrong thing and paying for it.

… We have the power couple trying to figure out who can take the baby for an afternoon in the absence of a nanny, and the divorcees who now date and hate it. (“Churning out the small talk with someone who is all talk.”) One character later sings that “the visions seep in my head of the life I could have led.” Why, sings Deirdre Finnegan, “are patterns haunting every move I make?” … If this appears to come down on the side of dreariness, it doesn’t … these ultimately come across as songs about connection and new experiences. The music is by David Shire (Baby, the film Saturday Night Fever) and Richard Maltby Jr. (Baby, Ain’t Misbehavin’, Miss Saigon).”

Beginning in F# minor, “If I Sing” transitions to A major at 1:04, among other harmonic shifts. This tribute to familial love, shared tradition, and humbleness in the face of the passage of time is — ultimately — about connection.

The Archies | Time for Love

” … A real rocker wouldn’t be caught dead with his picture in magazines like Teen Beat, and it goes without saying that a band can’t be anything like The Archies,” (Spectropop) “A cartoon studio group with its own Saturday-morning TV show is just about as uncool an image as you could ever want. So it comes as no surprise that rock critics have been trashing Archies records for 30 years now.

Wouldn’t they be surprised, though, if they ever took the time to really listen to Archies records? They’d discover that this ‘bubblegum’ band cut more than a few great songs. Between September of 1968 and September of 1971, The Archies gave Saturday-morning TV its best rock ‘n’ roll since the animated Beatles crashed the kiddie airwaves three years earlier. Adults never realized how good it was . . . or so it seemed, until a song called ‘Sugar, Sugar’ was released, and rocketed into the stratosphere.”

Another track by this fictitious yet also real band was “Time for Love” (1968). Anyone who’s heard the smash hit “Sugar, Sugar” will recognize the lead vocal (Ron Dante) and the band’s distinctive overall sound. The first key change, up a minor third, hits at 0:14 — the first of many packed into the track’s compact 2.25-minute runtime! Many thanks to our regular contributor, Julianna A. from Brazil, for this delightful submission — her ninth in total for MotD.

Three Dog Night | Easy to Be Hard

“‘Easy To Be Hard’ appeared in the stage musical Hair (1968). It became a smash American Top 40 hit in its own right,” (Last.FM). “It was played frequently by Top 40 radio stations well into the summer of ’69. The track spoke to the milieu of the late ’60s: Social consciousness and social injustice. For that reason, young America embraced it.” From Sleepless Critic’s review: “Before cell phones, the internet, and alternate forms of digital communication invited people to text and talk on a computer screen as an alternative to seeing someone in person, Hair highlights the value of in person camaraderie, especially when things seem to be falling apart. Set in war-torn 1968 and focusing on a tribe of hippies that could possibly be drafted, emotionally and physically holding onto each other helps them cope in a world gone mad.”

The tune was written by Galt MacDermot, James Rado, and Gerome Ragni and was first released by Suzannah Evans, Linda Compton, Paul Jabara and the company of the musical Hair in October 1967 (SecondHandSongs). It was then released as a single by Three Dog Night in July 1969.

Starting with a vamp alternating between a conflicting C major and A major, the tune eventually settles into D major partway through the verse. At 1:33, the chorus begins in G major, shifting to A major at 1:44. The verse returns and the pattern continues from there, until the final chord shifts unexpectedly to B minor.

Mame (from “Mame”)

“The musical Mame was a hit in the 1960s, originally starring Angela Lansbury … The musical leads us through New York in the Prohibition Era and the Great Depression,” (Mancunion.com). “It follows an orphan boy named Patrick, who is sent to live with his last remaining relative, his bohemian aunt Mame, who declares to him: ‘Life’s a banquet and most poor sons-of-bitches are starving to death.’

.. Although disapproved of by the trustees of Patrick’s late father’s estate, Mame is incredibly loving to her nephew and progressive by our modern standards: in her group of artist friends, we see several same-gender couples; she proclaims sexual liberation for women, and later vows to open a home to support single mothers. Other than some outdated language, Mame translates well into the twenty first century … Mame is a show that features many platonic relationships between women – something that is rare in musicals – and also emphasizes the comedic abilities of actresses.”

Both the music and lyrics of the title theme of the 1966 musical were written by Jerry Herman, also known for Hello Dolly and La Cage Aux Folles. Starting out in Bb major, the iconic tune shifts to B major (1:17), C major (2:24), followed by a frenetic instrumental section featuring several other keys, landing in Ab major at 4:24 and then — finally — A major at 5:20.



Theme from “A View to a Kill”

“The gold standard of poppier James Bond songs … is Duran Duran’s title track for A View To A Kill. Band and film were a perfect match for the Roger Moore era— playboy lifestyle, playboy attitudes,” (Aidan Curran). “Duran Duran’s stock-in-trade of cinematic videos, supermodel consorts and gibberishly portentous lyrics meant the thing virtually wrote itself, shouting ‘DANCE! INTO THE FI-YER!’ right out of the womb. Each stab of brass is the delivery mechanism for a cheesy grin. Plus, ‘the name’s Bon … Simon Le Bon!’ was a pun too good not to happen … “

Released in May 1985, the track peaked in Duran Duran’s native UK at #2. In the US, it reached #1 on the Billboard Hot 100 chart and remains the only Bond theme to achieve that distinction. “The song was the last track recorded by the most famous five-member lineup of Duran Duran until their reunion in 2001. It was performed by the band at Live Aid in Philadelphia in 1985, their final performance together before their first split,” (Wikipedia).

The tune begins in C minor and transitions from 0:54 -1:09, when the chorus starts in Ab minor. At 1:47, the next verse begins in C minor after some electronic flourishes that scream “1985” — there are plenty of cheesy grins on offer, for sure. The pattern continues from there.

Maureen McGovern | Different Worlds (opening theme from “Angie”)

“Philadelphia coffee shop waitress Angie Falco (Donna Pescow) starts a romance with customer Bradley Benson (Robert Hays), a pediatrician,” (ABC.fandom.com). “While she assumes he is a struggling young doctor, he reveals that he is actually rebelling against his wealthy family, presumably residents in the Main Line region of the city’s suburbs. The other Falco family members are Angie’s mother Theresa (Doris Roberts) and her younger sister Marie (Debralee Scott).

… Angie and Brad later marry, merging their two very different families: the blue-blooded Bensons and the urban Italian-American Falcos … Angie premiered on February 2, 1979 (and ran for) two seasons and 36 episodes.”

The show’s theme song, “Different Worlds,” was performed by Maureen McGovern. Written by Norman Gimbel and Charles Fox, the tune was released by McGovern as a single from her eponymous fourth studio album in June 1979. The track peaked at #18 on the Billboard Hot 100 and was #1 for two weeks on the Billboard Adult Contemporary chart. Starting in C major, the tune shifts to Eb major at 0:25, wearing its late-disco era on its sleeve. Many more key changes follow — more than anyone could reasonably expect from a 90-second opening theme!

Ben Folds | It’s the Small Things, Charlie Brown

“Up until this February, alt-pop veteran Ben Folds was an artistic advisor to the National Symphony Orchestra.” (Stereogum). “When Donald Trump took over the Kennedy Center, Folds resigned his post, writing, ‘Not for me.’ Fair enough! It’s not like Folds wasn’t making his own music when he had that job; he released the Christmas album Sleigher last year. Now, Folds has another new project ready to go. He’s co-written the song for Snoopy Presents: A Summer Musical, a new special coming out on AppleTV+ this summer.

According to an Apple press release, the forthcoming 40-minute special Snoopy Presents: A Summer Musical is ‘the first Peanuts musical in 35 years.’ It’s about the Peanuts gang going to summer camp. Jeff Morrow, Ben Folds collaborator on the songs, has scored a number of more-recent Peanuts specials, as well as films like Disney’s live-action Snow White and The Little Mermaid remakes. Ben Folds, a regular Schroeder, has been in the Peanuts system before; he wrote and performed the theme to the 2022 AppleTV+ special It’s The Small Things, Charlie Brown.” The production of Snoopy Presents: A Summer Musical will debut 7/18 on AppleTV+.

“It’s the Small Things, Charlie Brown” finds Folds indeed channeling the warmup moves of the Peanuts franchise’s resident pianist before he digs into the tune. Starting in G major, the track features Folds’ trademark vocals-forward sound. After the quieter texture of the bridge starts at 2:20, there’s a late key change up a whole step to A major at 2:50.

Artie Shaw | Alone Together

“Jean Sargent introduced “Alone Together” in the Broadway musical Flying Colors … (which) opened at the Imperial Theater on September 15, 1932, produced by Max Gordon and directed by Howard Dietz,” (JazzStandards.com).

“The late Artie Shaw had impeccable musical taste. He was an obsessive perfectionist, and his clarinet playing and the bands he led performed exceptional, quality music. Many of the tunes he selected for his big bands of the 1930s and 40s became standards years after he recorded them. Shaw was the premier jazz musician to record “Alone Together.” The first reading was with his standard “reeds, brass, rhythm” band in 1939. He recorded it again in 1940 with a group including strings and with a different arrangement. Although both versions lean towards the smooth, instrumental, dance band style of that era, it’s Shaw’s brief clarinet expositions that reveal the improvisational potential of the song.”

The AABA tune, built primarily in D minor, shifts to the closely-related key of G minor for the B section before returning to the original key for the final A section.

Sunrise, Sunset (from “Fiddler on the Roof”)

“Set in a shtetl in czarist Russia in 1905, the beloved musical Fiddler on the Roof has been staged hundreds of times around the world since its Tony Award-winning Broadway debut in 1964 … As for Fiddler’s enduring popularity, it’s perfectly written as a comedy and a tragedy and shows tradition in such a beautiful way, with the Sabbath candles and the family sitting around the table … tradition is also at the root of heartbreak: Tevye’s daughter Chava must choose between her family and her non-Jewish love,” (Jewish Journal).

“Lyricist Sheldon Harnick, who collaborated with composer Jerry Bock on Fiddler’s songs, spoke about the musical’s appeal in a telephone interview. ‘It’s a family show. It’s about a father and his children. So many people can identify with the problems of fatherhood and raising a family,’ he said, calling the musical’s success ‘astonishing. It’s the most popular and the most performed of everything that Jerry Bock and I did. I’m very surprised and very gratified.'”

Perhaps the most memorable of all of Fiddler‘s tunes is the waltz ballad “Sunrise, Sunset.” According to NPR, Harnick remembers “‘ … when we wrote ‘Sunrise Sunset,’ the first person we played it for was Jerry Bock’s wife… and when I finished, then I looked at Jerry’s wife Patti and I was startled to see that she was crying. And I thought, my goodness; this song must be more effective than we even know.'” Starting in Eb minor, the tune shifts up to E minor at 4:08.

Say No to This (from “Hamilton”)

“I don’t mean to suggest that you’re unpatriotic if you aren’t moved by Hamilton … but in order to dislike it you’d pretty much have to dislike the American experiment,” (Vulture.com). “The conflict between independence and interdependence is not just the show’s subject but also its method: It brings the complexity of forming a union from disparate constituencies right to your ears.

It may confuse your ears, too: Few are the theatergoers who will be familiar with all of Miranda’s touchstones. I caught the verbal references to Rodgers and Hammerstein, Gilbert and Sullivan, Sondheim, West Side Story, and 1776, but other people had to point out to me the frequent hat-tips to hip-hop: Biggie Smalls, the Fugees, ‘Blame It (On the Alcohol).’ And I’m sure that historians in the audience (the show was “inspired by” Ron Chernow’s 800-page Hamilton biography) will catch references that the rest of us fail to notice. (“The world turned upside down,” a repeated phrase in a number about the Battle of Yorktown, is the name of the ballad supposedly played by Redcoat musicians upon Cornwallis’s surrender there, in 1781.) But for all its complexity — its multi-strand plotting and exploding rhyme-grenades — Hamilton is neither a challenge nor a chore. It’s just great.”

Synopses of the 2015 smash hit’s show’s plot are plentiful; suffice it to say that “Say No to This” shows the mix of rap and sung lyrics for which Hamilton is so well known. After a start in A major and a shift to the relative F# minor at 2:33, there’s a quick hop to Bb major at 3:00 before the tune settles into B major from 3:03 to the end.