soundtrack – Page 5

Orchestral Manoeuvres in the Dark | If You Leave

“When you hear the swirling synths and clattering beat that open ‘If You Leave’ by Orchestral Manoeuvres in the Dark (OMD, for short), you just might be transported to some long-ago theater, or maybe back to nights at home with the VCR running,” (American Songwriter). “Or maybe, just maybe, you’ll recall the nervous excitement of a high school dance. This ‘80s anthem has a way of evoking nostalgia for that era like few other songs. In fact, the song is such a perfect example of desperate romanticism that you might imagine it to be one that was toiled over for weeks in an effort to make it the perfect fit for what would turn out to be an iconic movie scene. But what if we told you it actually was written and recorded in the span of an evening or so?

… Luckily, one of (OMD’s) U.S. fans was John Hughes, the noted writer and director … He contacted OMD to submit a track for his 1986 film Pretty in Pink … In around 14 hours, Andy McCluskey and Paul Humphreys wrote ‘If You Leave’ and created a rough mix. Once Hughes heard it the next morning, he was blown away, which meant that OMD had to get back to the studio on just a few hours sleep to polish up the track for an official recording … Even though it was rushed and put together without any kind of forethought, ‘If You Leave’ delivered just what OMD wanted. The song went to the Top 5 in the U.S., and it hasn’t ever quite departed from the public consciousness since … they ended up with a stone-cold classic …”

The tune is built around such a simple melodic idea (re-mi-do) carried from the verses into the chorus, paired largely with a cliché chord progression (I-vi-IV-V or I-IV-V-IV), that it’s difficult to imagine how this tune could work without a key change. No need to worry — there are ten! Starting with a shift from F major to D major before the vocal even makes an appearance (0:17), various sections of the tune shift among the keys of F, D, G, and E major.

Moving Too Fast (from “The Last Five Years”)

Jason Robert Brown’s 2001 two-character musical The Last Five Years traces the disintegration of a five year relationship between Jamie, a novelist and Cathy, an aspiring actress. The story, inspired by Brown’s own failed marriage, is told from the perspectives of both characters even though they only interact once in the middle of the show, at their wedding. “Moving Too Fast” is sung by Jamie when everything in his professional life is going better than he ever dreamed it could, and Cathy feels left behind.

The song, performed here by Jeremy Jordan in the film adaptation, begins in A and modulates to F at 1:28 for the bridge, which quotes “Still Hurting,” the first song in the show. It then returns to A at 2:26 and dances around Bb, B and C before a final modulation to Bb at 3:38

Somebody’s Got Your Back (from “Aladdin”)

Last month the Broadway production of Aladdin celebrated its tenth anniversary on the Great White Way, with no signs of slowing down. It has played over 3,500 performances for 6 million audience members, and been one of the top 10 highest-grossing shows for nearly every week of its run. A successful national tour ran in the US, and 11 additional productions of Aladdin have opened on four continents.

“Somebody’s Got Your Back” comes near the end of Act 2 and was one of a few songs written specifically for the musical and not included in the original Disney movie. It begins in C and modulates to Db at 1:12. There are a number of brief key changes in the dance break starting at 1:35, and a return to C for the end at 2:30.

Maybe This Time (from “Cabaret”)

Though now almost exclusively associated with the musical Cabaret, Kander and Ebb’s iconic ballad “Maybe This Time” was not originally written for the show. The songwriting duo composed the song for cabaret singer Kaye Ballard in 1964, and later included it in the 1972 film adaptation of Cabaret. The tune was added to the stage musical for the 1998 revival and has been included in subsequent major productions.

A new revival of Cabaret began previews on Broadway last week after transferring from London’s West End. The track is performed here by Jessie Buckley, and modulates from Ab to A at 2:21.

Journey To The Past (from “Anastasia”)

“Journey To The Past” closes the first act of the 2017 Broadway musical Anastasia, an adaptation of the 1997 film. The song, written by Stephen Flaherty (music) and Lynn Ahrens (lyrics), was nominated for Best Original Song at the Golden Globes and Oscars in 1998. Sung by the lead character of the show, Anya, the lyric expresses her desire to find home and belonging.

“There’s something about the way the vamp starts, that sparkly little vamp and it embodies hope and fear and those are universal emotions that every woman, everybody feels as they step into their lives and take control of their lives and know that I’m at that no turning back moment in life,” Ahrens said in an interview with Entertainment Weekly.

There are many key changes sprinkled throughout the song, and they all help build the drama and carry the story and character forward. The track, performed here by Christy Altomare, begins in C major; the modulations are listed below:

Eb: 0:24; F#: 0:48; C: 0:59; Eb: 1:11; F#: 1:36; Eb: 1:59; C: 2:15: Eb: 2:27.

Judy Garland | I’m Always Chasing Rainbows

“MGM’s musical extravaganza of 1941, Ziegfeld Girl, directed by the reliable craftsman Robert Z. Leonard, stars some of the studio’s most beautiful women: Judy Garland, Hedy Lamarr, and Lana Turner,” (EmanuelLevy). “The story focuses on three showbiz hopefuls and their efforts and fortunes in achieving their ultimate goal, becoming a glamorous ‘Ziegfeld Girl.’ … truly memorable is the series of lavish dance numbers, which are spectacular in costume design and scale … which do both Florenz Ziegfeld and choreographer Busby Berkeley proud.”

Although “I’m Always Chasing Rainbows” was made famous via other releases as early as 1918, the tune is often associated with Garland’s versions. What thoughts must have gone through Garland’s head as she sang yet another beautiful tune about rainbows and bluebirds? Her original version from Ziegfeld Girl, also included below, didn’t feature a key change. But later in her career, on her own TV show (episode 23, taped 2/21/1964 and aired 3/8/1964). Garland sang an expanded version of the ballad which included a half-step key change at 1:51.

Many thanks to Amanda D. for bringing this tune to our attention — her first contribution to MotD! Thanks also to our regular contributor Jamie A. for providing details on the air date of this performance.

The Mad Hatter (from “Wonderland”)

“The Mad Hatter” comes in the middle of the first act of the short-lived 2011 musical Wonderland, with a score by Jack Murphy and Frank Wildhorn. The jazzy number, performed here by original cast member Kate Shindle, begins in E minor and bumps up to F minor at 2:23.

Roxette | It Must Have Been Love

“This breakup ballad was written by Roxette’s instrumentalist, Per Gessle. Despite the somber lyric, the song proved very pleasing to the ear and became a huge hit,” (Songfacts). “Recorded before Roxette started working on their 1990 Joyride album, ‘It Must Have Been Love’ was reworked for the movie Pretty Woman, starring Julia Roberts and Richard Gere. The movie was an enormous hit, and so was the soundtrack … Released in March 1990, Pretty Woman developed a huge following, which helped send this song to the top of the US Hot 100 in June, where it stayed for two weeks.

The Swedish group had been popular in Scandinavia for years before they hit it big in the US: “It wasn’t until an American student studying in Sweden brought a copy of their second album home to Minneapolis, and persuaded a local radio DJ to play ‘The Look,’ that they achieved international fame,” (BBC). In 2019, the duo’s vocalist, Marie Fredriksson, passed away at age 61 after a 17-year battle with cancer.

The verses’ melody is simple and contained, but the choruses bring a greater range. Building on that trend, a resounding modulation up a perfect fourth hits on a chorus at 2:59.

My Own Best Friend (from “Chicago”)

This week on MotD we are recognizing the legendary Chita Rivera, a dancer/singer/actress who passed away last week. The first Latino American to ever receive a Kennedy Center Honor, Rivera also won three Tony Awards, including the Lifetime Achievement Award, and the Presidential Medal of Freedom.

Rivera had a long association with the songwriting duo Kander & Ebb, starring in Kiss of the Spider Woman, The Rink, The Visit, and most famously, Chicago as the vaudeville singer Velma Kelly opposite Gwen Verdon’s Roxie Hart. Both were nominated for Tony Awards for their performances. “My Own Best Friend” is sung by Velma and Roxie at the end of the first act as they realize there is no one they can count on but themselves. The track starts in Ab and features a common tone modulation up to A at 1:53.

Spanish Rose (from “Bye Bye Birdie”)

One of her Tony-nominated roles was her turn as Rose Alvarez in the 1960 Broadway production of Bye Bye Birdie. “Spanish Rose” comes near the end of the show, and there are modulations throughout. The tune begins in C and successively modulates up by half steps, ultimately landing in Eb.