Tag: UK

Steel Pulse | Ravers

AllMusic notes that “Steel Pulse are one of Britain’s greatest reggae bands. Generally a politically minded Rastafarian outfit, it started out playing authentic roots reggae with touches of jazz and Latin music and earned a substantial audience among U.K. punks as well as reggae loyalists.”

From AllMusic’s review of “Ravers” (1978): “…for all its debt to the Jamaican dancehalls, the Birmingham bandmembers don’t so much emulate the current island craze as bend it to their own will…set(ting) the stage with (a) flurried tattoo of militant beats and percussion…only partially soften(ed) with a pulsing bassline. One of the many highlights of Steel Pulse‘s True Democracy album.”

A brief bridge from 2:20 – 2:32 shifts the key from G major to Bb major. As the verses continue to the end, the percussion becomes increasingly free, adding unexpected kicks and tumbling triplets over the otherwise classic reggae feel.

Many thanks to regular contributor JB for submitting this track!

Rolling Stones | Dear Doctor

Not a band normally known for modulations, the Stones produced a tune with a key change in “Dear Doctor” from 1968’s Beggar’s Banquet. The tune is a country/blues waltz — a classic story song about an ill-fated romantic pairing.

According to AllMusic, “Jagger may be poking fun a little, but he could not nail the parlance of the characters so precisely if he had not studied it closely as a fan of the music…in a sense, they have been musicologists, interpreting musical forms that were in danger of dying out.”

At 1:38, there’s a big key change (up a major fourth). Many thanks to mod scout Rob Penttinen for this contribution!

Thomas Dolby | The Flat Earth

After releasing his debut album Golden Age of Wireless, which featured his iconic hit “She Blinded Me With Science,” UK songwriter / keyboardist / synthesist / vocalist Thomas Dolby‘s work took a turn towards the atmospheric. Much of his second album, The Flat Earth, had a gentler, more organic sound. A huge contributing factor to the sound of both albums was bassist Matthew Seligman, whose imaginative, wide-ranging style is front and center in the mix throughout. Much of Seligman’s work on The Flat Earth was on fretless bass, further burnishing the sound.

Seligman also worked with David Bowie and The Thompson Twins; did session work for Morrissey, Tori Amos, the Waterboys, and more; and co-founded The Soft Boys. He passed away last week from complications of COVID-19 at the age of 64.

AllMusic reports that Seligman’s bass on The Flat Earth “is a welcome addition — throughout the album his work is lavish, growling, popping through octaves, funk-a-fied and twinkling with harmonics. The title track is a wondrous R&B daydream of piano and Motown stabs of rhythm guitar…”

Although the tune is largely in Db major, there’s a short bridge in D major (3:33 – 4:02), striated by layers of nearly wordless vocals, before a transition back to the original key.

Madness | The Sun and the Rain

The Guardian suggests that Madness “are still perhaps England’s greatest post-Beatles singles group. ‘The Sun and the Rain’ was a tribute to precipitation, and what could be more English than that? Accompanied by an urgent, string-laden stomp,” the lyric speaks of “standing up in the falling down.” The track was released in 1983 as a stand-alone single, reaching 10 weeks on the UK Singles chart (peaking at #5). It later appeared on the group’s subsequent album, but only after its strong showing as a single.

Setting the tone, there’s a quick key change from the intro into the first verse at 0:34. Taking a back seat to the band’s unique piano-driven post-ska sound and goofy, irreverent style, the main modulation drops with minimal fanfare between two choruses at 2:49. Many thanks to MotD regular Rob Penttinen for this submission!

Jacob Collier | Hallelujah

I have posted Jacob Collier singing a different arrangement of this same song here before, but I came across this rendition today, filmed a few days ago, and it is so transcendent that I have to share it again. As Collier says before he begins, “It starts in C Major, but we’ll see where it ends up,” making it particularly fitting for this page.

Il Divo | All By Myself

Originally written, recorded, and released by Eric Carmen in 1975, “All By Myself” has been covered by many artists, perhaps most notably Céline Dion. The verse of the tune is based on the second movement of Sergi Rachmaninov‘s Piano Concerto No. 2 in C minor. While Carmen’s original did not include a key change, most contemporary covers, including the 2007 version featured here by the pop male vocal group Il Divo, do (you can find it at 3:12.)

Yola | Faraway Look

Many thanks to Jonathan “JHarms” Harms for submitting this knockout tune!

UK-born singer/songwriter Yola (Yolanda Quartey) has performed as a backup vocalist with a wide range of artists, including Massive Attack, James Brown, and The Stax Band. AllMusic.com states that as she pursued session and touring work, Yola fronted the country/soul band Phantom Limb and “began crafting a set of deeply personal songs that pulled stylistically from Muscle Shoals-era country-soul, old-school R&B, countrypolitan, and classic singer/songwriter.”

The album Walk Through Fire (2019) and its single “Faraway Look” garnered three Grammy Award nominations: Best Americana Album, Best American Roots Song, and Best American Roots Performance.

Previewed briefly during the verse, the shift from the B major of the verse to the C# major of the chorus at 0:59 pales in comparison with the sheer power of the vocal and wall of sound production. At 1:27, the next verse reverts to B major. The composition style, reminiscent of Bacharach’s writing for Dusty Springfield, is belied only by the 21st-century audio production. According to Songfacts.com, Yola explains that the track “makes me think of a time in my life where I was encouraged to stay in my lane and be thankful for my lot…In a world that questions a woman’s every objection as well as every ambition, the faraway look is king.”

XTC | Wrapped In Grey

AllMusic.com calls XTC “one of the smartest — and catchiest — British pop bands to emerge from the Punk and New Wave explosion of the late ’70s. From the tense, jerky riffs of their early singles to the lushly arranged, meticulous pop of their later albums, XTC’s music has always been driven by hook-laden songwriting of guitarist Andy Partridge and bassist Colin Moulding.” In an interview with Popdose, Partridge described 1992’s “Wrapped in Grey” as “ersatz Bacharach” and one of the “perfect songs” of his career, feeling that he had “exorcised a lot of those kind of Lennon-and-McCartney, Bacharach-and-David, Brian Wilson-type ghosts out of my system by doing all that.”

Drenched with harmonic tensions from its opening, the tune starts in B minor, transitioning to F# major for the chorus from 1:19 – 1:57; the cycle then repeats. The “everything but the kitchen sink” arrangement of saloon-style piano, sweet strings, varied percussion, wide-ranging backing vocals, and a chaotic, meter-shifted tag at 3:31 make this waltz a true “Exhibit A” from the later output of this singular band.