Tag: UK

Lene Lovich | Blue Hotel

Lene Lovich, born Lili-Marlene Premilovich, “is an American singer, songwriter, and musician of Serbian and English descent based in England,” (Sputnik Music). “Back in the autumn of 1978, when Stiff Records mounted its second major assault on the British music biz, Lovich stood out … with her outlandish dress, colourful coiffure and mannered, theatrical delivery, using her voice no differently than the sax she occasionally tooted,” (StevePafford.com) … (She was a) one time sculpture student at London’s Central School of Art … Lene’s leftfield output was at the perfect foundational example of the burgeoning New Wave. An amalgam of baroque and Euro-cabaret, her slightly pixilated pop arrangements laced with splashes of synthesizer and organ …

… What at the time seemed a bit outre, even gauche was, by the early Eighties, adopted whole or in part by rafts of aspiring bands. Where once Lovich was likened to Patti Smith for lack of even vaguely comparable new wave female singers, she now had her own ‘school’ of followers – although many people have no idea she was there first.”

Following on a cover of “I Think We’re Alone Now” (1978), “Lucky Number”
(1978), and the Thomas Dolby-penned “New Toy” (1981), “Blue Hotel” was released in 1983 on Lovich’s album No Man’s Land. The video for the track was certainly not among those with the highest production values, but joins “New Toy” as a high point of the New Wave while capturing much of early-80s music video’s visual aesthetic. After a brief intro (and a hearty greeting to all) in A major, the tune shifts into A minor for the first verse; an A major interlude echoing the intro follows from 2:03 – 2:16); and a triumphant whole-step modulation up to B major hits at 2:40. At 3:30, the outro finds Lovich yodeling adroitly and proudly, as one does. No need to file a flight plan; Lene was there first, and knows the way.

for Maureen

David Crosby + Graham Nash | Guinnevere

“David Crosby, a founding member of iconic 1960s rock bands the Byrds and Crosby, Stills, Nash & Young and one of the most celebrated musicians of his generation, has died at the age of 81,” (Spin). A tribute on Facebook from Graham Nash: ” … what has always mattered to David and me more than anything was the pure joy of the music we created together, the sound we discovered with one another, and the deep friendship we shared over all these many long years. David was fearless in life and in music. He leaves behind a tremendous void as far as sheer personality and talent in this world. He spoke his mind, his heart, and his passion through his beautiful music and leaves an incredible legacy. These are the things that matter most … “

“The early 1970s BBC series In Concert featured some of the greatest performers of the folk rock / singer-songwriter era, including Joni Mitchell, Carole King, James Taylor, Cat Stevens and Neil Young in front of intimate crowds at the old BBC Television Centre in London,” (Dangerous Minds). In the case of each of the artists featured, the BBC sets are probably the very best records we have of these performers in their youthful prime. This is almost certainly the case with the gorgeous Crosby & Nash performance linked here. It’s a stunner.

After the success of their monstrously popular Déjà Vu album, Crosby, Stills, Nash & Young,“the American Beatles” as they were often called (never mind that one was a Brit and another Canadian) broke up in the summer of 1970, with all four members of CSNY recording solo albums. Crosby’s If I Could Only Remember My Name and Nash’s Songs for Beginners appeared the following year. In the fall of 1970, the two toured as an acoustic duo previewing tunes from their upcoming albums and singing fan favorites.”

Written in E minor overall, there are several short passages in G minor (for instance, 1:59 – 2:07).

Jeff Beck | Diamond Dust

The legendary UK guitarist Jeff Beck died yesterday at the age of 78. “Often described as one of the greatest guitarists of all time, Beck … was known as a keen innovator,” (The Guardian). He pioneered jazz-rock, experimented with fuzz and distortion effects and paved the way for heavier subgenres such as psych rock and heavy metal over the course of his career. He was an eight-time Grammy winner, recipient of the Ivor Novello for outstanding contribution to British music, and was inducted into the Rock and Roll Hall of Fame both as a solo artist and as a member of the Yardbirds.

Musicians and longtime friends began paying tribute minutes after the news broke. On Twitter, Jimmy Page wrote, ‘The six stringed Warrior is no longer here for us to admire the spell he could weave around our mortal emotions. Jeff could channel music from the ethereal. His technique unique. His imaginations apparently limitless. Jeff, I will miss you along with your millions of fans.'”

“Diamond Dust,” from Beck’s 1975 album Blow by Blow, never truly settles into one tonality, shifting every two or four measures; the relatively rare minor third key change is heard more than once. The fluid melody is primary, with the chord structure dashing to keep up. The harmonies are so rich that the 5/4 time signature only registers gradually, perhaps because the “1” of each measure isn’t overly emphasized by the rhythm section. Sputnik Music mentions Miles Davis’ Bitches Brew (1970) as having initiated the genre of jazz fusion, but Beck’s Blow by Blow as “defin(ing) the genre, moving away from his former Rock and Blues based efforts, to this all-instrumental album. It reigns as his greatest and most famous achievement.”

for JB

Girls Aloud | The Promise

“The Promise” was featured on the 2008 album Out of Control, recorded by the British girl group Girls Aloud. The track was praised by critics, debuted at #1 on the UK Singles Chart, and won Best British Single at the 2009 Brit Awards.

The track has a laid back groove and sounds like it could be from Dirty Dancing or Saturday Night Fever. It begins in A and modulates up to Bb for the final chorus at 3:33.

The Police | Message in a Bottle

“‘Second-album slump’ is one of the most dreaded phrases you can foist upon a new rock artist, as it can often equate to another unpleasant label – ‘career killer,'” (LouderSound). “But this didn’t seem to cross the minds of The Police trio of singer/bassist Sting, guitarist Andy Summers, and drummer Stewart Copeland when they began thinking about a follow-up to the band’s hit debut album Outlandos d’Amour (which had spawned hit singles including ‘Roxanne’ and ‘Can’t Stand Losing You’).”

One of the band’s best-known tracks, “Message In A Bottle,” was a single from the its second album, Reggatta de Blanc (1979). “As with all of The Police’s hits, Sting is listed solely as the song’s author. But according to Summers, he and Copeland helped shape the final track, which Summers cited as his favorite from the band’s entire catalog. ‘We all had ideas. It was very collaborative. I think we had already found our way. The thing between Sting and I, we grew up listening to very much the same kind of music, which was a lot of jazz – a lot of Miles Davis, a lot of Thelonious Monk.’ With these shared musical tastes, Summers quickly realised that he had found the perfect songwriting partner. ‘I could play these more off-the-wall voicings on the guitar and he wouldn’t flinch – he’d just sing right through it … It was the right melting pot for the guitar skills that I had, with a singer who had the ears for it. So that’s why it was so unique. There’s no formula for it.”

Perhaps it’s Summers’ inventive, often oblique guitar voicings or Copeland’s constantly shifting cymbal work and syncopated kicks that de-emphasize the change between two already closely-related keys. But after a start in C# minor, the tonality slips down into A major for the chorus (for the first time at 0:31) before reverting to C# minor for the next verse at 1:00; the pattern continues from there.

Quiet (from “Matilda The Musical”)

“Quiet” is from the musical adaptation of Roald Dahl’s classic 1988 book Matilda. Written by Tim Minchin, the song is sung by the title character when in Act 2 as she is feeling overwhelmed by questions about how different she feels from everyone else. The key change comes about 1/3 of the way into the song at 1:20 as the texture thins out and the melody and harmony simplify, and Matilda imagines how much more peaceful it would be if it was quiet.

A movie adaptation of the musical was released by Netflix last week, starring Alesha Weir as Matilda.

Garbage | I’m Only Happy When It Rains

“Garbage are an iconic, eclectic band that is anything but what their name implies,” (Consequence). “With the music scene awash in a sea of grunge {in the ’90s], Garbage went a different way — and to great effect. This all-star band — with world class producer Bruce ‘Butch’ Vig (Nirvana) at the production helm — has released hit after dynamic hit with an infectious pop sound that belied frequently dark lyrics. They’ve scored a number of Top 10 hits and were even chosen to record a James Bond theme.

Fronting the outfit is the charismatic and irrepressible Shirley Manson from Edinburgh, Scotland. Manson first met up with her three future [American} bandmates in Wisconsin … their self-titled debut came the iconic hit ‘Only Happy When It Rains” (1995) [is] a record that feels as fresh today as it did nearly 30 years ago.”

Starting in G# minor, the track shifts at 0:41 into a chorus that seems a bit off-kilter. On closer inspection, it’s built completely from major chords and (colorless) power chords: C#, G#, A, and B, touching on F# before moving on to the next verse.

Tweed/Street Big Band | Deck The Halls

This Christmas medley built around “Deck The Halls” was arranged by Karen Tweed (who also plays keys and sax in the video) and performed by the members of two extended families. It begins in F and modulates down to Db at 1:01. After wandering through a few different tonal areas with strains of “Good King Wenceslas” and “Jingle Bells,” we land in D at 2:45 where it stays through to the end.

Thanks to JB for this obscure find!

Karen Sweet & Karen Tweed | Sussex Carol

The Sussex Carol, a popular British tune, is performed here in a jazzy cover by accordionists Karen Sweet & Karen Tweed. It begins with a slow, rubato intro that stretches and embellishes the melody, eventually leading into the tune at 1:16. There is an unexpected downward modulation from G to Eb at 2:04.

Thanks to JB for this contribution!