UK – Page 3

Go West | Goodbye Girl

“Peter Cox first met Richard Drummie in 1974,” (artist website). “Peter played a demo tape for Richard. He liked what he heard and so began the friendship and collaboration. In 1982 Peter and Richard signed a publishing deal under the names of ‘Cox and Drummie’. Together they approached several record companies without success. With help from their manager, John Glover, they secured studio time and recorded their first two singles – ‘We Close Our Eyes’ and ‘Call Me.’ Cox and Drummie were renamed as Go West. Within days, John was negotiating a contract with Chrysalis Records. Go West finally had a record deal.

‘We Close Our Eyes’ was released in the Spring of 1985. It reached #5 in the UK charts and became a top 10 hit in the USA. This success was followed by a further three UK top 10 hits – ‘Call Me,’ ‘Goodbye Girl’ and ‘Don’t Look Down’. The album Go West sold 1.5 million copies worldwide and remained on the UK chart for 83 weeks, establishing them as one of the greatest songwriting duos to emerge in the 80s. In 1986 they won the BRIT Award for ‘Best British Newcomer’ – the one BRIT which is decided by the listening public.”

The ballad “Goodbye Girl” was something of an anomaly within the band’s early output, particularly compared to the first two singles from the album. Co-songwriter, vocalist, and multi-instrumentalist Richard Drummie says of “Call Me,” the album’s second single, ” … you can tell it’s commercial, but you should have heard the demo – it sounded like seven ice cream vans coming round the corner,” (ClassicPopMag). “It was just so poppy. But it got us signed,” after many years of effort.

During this 1985 performance at Top of the Pops — a venue more or less required of fast chart climbers in the UK — the entire band mimed the studio version of the song throughout (adhering to TotP‘s house rules). After verses, choruses, and a bridge built in F minor, 3:23 brings a shift up a whole step to G minor after a grand pause.

Rob Harbron | Besinox

“Rob Harbron is a uniquely skilled player of the English concertina, described by The Guardian as a ‘concertina wizard’ and renowned for his highly individual and harmonic style of playing,” (artist website). “He is a member of Leveret (alongside Sam Sweeney and Andy Cutting), with whom he has toured extensively and released six landmark albums.

Known for his work with a wide range of artists including Jon Boden and the Remnant Kings, Emily Portman, Emma Reid, and The Full English, he has also worked with the Royal Shakespeare Company. His debut solo album Meanders was released in 2019 and was followed by a tunebook of original compositions.”

“Besinox,” from As the Days Begin to Lengthen (2024), begins in Bb major. At 1:20, a less stable middle section is announced by a prominent F minor chord. 1:53 brings a resounding shift to G major, which then falls in and out of focus a few times via compelling but fleeting harmonic sidesteps. The tune ends on a D major chord, with the key of G major clearly in effect.

Saint Motel | Save Me

“Saint Motel are a Brit-indie band trapped in the bodies of four svelte, stylish Californians,” (The Guardian). “Although when we say Brit-indie – and add that they specialise in Brit-indie-ish anthems – we’re not talking Kaiser Chiefs or Oasis as influences but rather groups like Pulp, Divine Comedy and the long-forgotten My Life Story, with a soupçon of the Smiths: indie with some glam pizzazz featuring a singer not averse to flamboyance, a suave croon and lyrics that verge on the literary.

We’re wondering how we missed them. Each of their songs announces itself with a flourish and no little élan, and there’s a light sprinkling of Caribbean rhythms, tropical flavours and lounge-jazziness throughout … their music has featured in HBO series Boardwalk Empire as well as an advert for Dewars Scotch Whiskey. Where were we? Truly, we are ashamed. To make amends, some facts: the band met in film school in Southern California, they recently played something called a Zombie Prom, and they write about everything from plastic surgery to ‘the taboo bonds of friendship within the Heaven’s Gate cult’. As frontman A/J Jackson says: ‘Many of the songs have various levels of subtext that I hope the listener will decipher with repeated listens.'”

“From 2007 to 2021, dream-pop band Saint Motel has been making listeners move and groove to the soothing beats of their soft funk, both in person and on TikTok, where 2014 hit “My Type” went viral last year,” (Riff Magazine). “While their first album in 2012 didn’t grant them much popularity, “My Type” worked its way up various Top 40 charts around the world … An album, saintmotelvision, followed in 2016, and Saint Motel is now onto its third, The Original Motion Picture Soundtrack.” The video for each of the album’s tracks has the look and feel of being part of a film soundtrack, but in this case the film doesn’t exist. After an ethereal intro and a substantial pause, “Save Me” (2021) begins in earnest at 0:28 in C major, then shifts into C minor for a brief bridge from 3:10 – 3:28.

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.

Cher | The Way of Love

A single from Cher’s 1971 album Gypsys, Tramps and Thieves, “The Way of Love is “a career highlight … The Stillman/Dieval tune was originally a British hit for Kathy Kirby, and both Cher and Kirby drove the song right by the censors,” (AllMusic). “The song is either about a woman expressing her love for another woman, or a woman saying au revoir to a gay male she loved — in either case this is not a mother to daughter heart-to-heart: ‘What will you do/When he sets you free/Just the way that you/Said good-bye to me.'”

The tune “broke the Top Ten in 1972 a few months after ‘Gypsies, Tramps and Thieves’ became her first number one solo hit toward the end of 1971. Both songs lead off this disc with a one-two punch … Cher never minded androgynous or neutral gender identity in her songs; her deep voice could carry both the male and female ranges for the duo with Bono and, musically, her solo material could soar to heights not possible in a partnership — ‘The Way of Love’ being one example.”

After a start in A major, the groove drops out for a grand pause before a huge brass fanfare heralds a shift to D major 1:12. It’s difficult to grasp that a track with such a prodigious sense of drama clocks in at only 2.5 minutes, but somehow it does. Cher’s full-throttle belt technique, easily matching what eventually becomes a full orchestral instrumentation, certainly never sounded better! Many thanks to Scott R. for this wonderful submission to MotD — the second we’ve published, although we’re grateful for the others that are also currently in the queue!

Gentle Giant | Proclamation (fan version)

“The Power and the Glory (1974) is, like Three Friends before it, a concept album featuring intricately woven arrangements … ” (Progrography.com). “You’ll also find quite a few ‘classic’ Gentle Giant songs … (including ‘Proclamation’) … Alternating between soft and harsh sounds, it’s an album of dreams and nightmares.

At this stage, there’s no denying that the band’s music had become, if not formulaic, at least idiosyncratic. There are the dizzying arrangements, classical excursions, heady subject matter and heavy rock all intertwined into four- and six-minute musical puzzles that are unique to Gentle Giant. I’d recommend you start with Octopus and Three Friends first, as they arrived earlier and achieved the same (or higher) highs … As the years have shown, albums about corrupt, power-hungry politicians are never out of fashion for long.”

The tune is built in D dorian until 2:07, when a huge unprepared shift to a Ab major chord drops like an anvil. But it’s not until 2:16 that we settle properly into the new key of F dorian. A few more harmonic shifts follow, but are often dwarfed by unexpected changes in meter, sudden instrumental/textural changes, imposing walls of tightly clustered vocal parts (3:25, for example), etc. As the extensive end credits of the video show, it took scores of fans of the storied UK-based prog rock band to create a cover version (2020) of this densely complex track!

From the video’s description: “This video marks the first time in 40 years that all members of Gentle Giant appear on screen and play together in a ‘virtual reunion’. Some notable contributors also make an appearance such as Jakko Jakszyk of King Crimson, Billy Sherwood of Yes, E.L.O. bassist Lee Pomeroy, Dan Reed of the Dan Reed Network, Richard Hilton of Chic, and Mikey Heppner of Priestess.”

Basia | Third Time Lucky

“In the 1980s and ’90s, a style of pop that certainly cannot be described as ‘rock’ brought many very talented individuals and bands to the spotlight, if only for a brief time, although their work has continued to shine and gain avid devotees in the decades after those initial spurts of airplay and publicity,” (GarryBerman.Medium.com). “Some have described one particular style as ‘lounge jazz’ — but not always as a compliment. Others classify it as ‘Cool Jazz,’ ‘Smooth Jazz,’ ‘Adult Contemporary,’ ‘MOR (Middle of the Road),’ even ‘Sophisti-pop.'”

“Basia Trzetrzelewska, born in Poland and based in the UK, is long-beloved for her global fusion of jazz, pop, Brazilian and Latin rhythms seasoned with R&B and rock,” (BasiaSongs.com). “Her albums Time and Tide, London Warsaw New York, The Sweetest Illusion and It’s That Girl Again were worldwide hits, with Time and Tide and London Warsaw New York going platinum in the US.”

Basia’s track “Third Time Lucky,” a single from 1994’s The Sweetest Illusion, makes key changes more the rule than the exception. Nods to Brazilian music appear at every turn, woven around the saturated walls of sound that are Basia’s trademark DIY multi-layer backing vocals. The first of many key changes appears at 0:34 at the top of the second verse.

Many thanks to frequent contributor Ari S. for this submission!

Ozzy Osbourne | Ordinary Man (feat. Elton John)

“Ozzy Osbourne … helped forge the sound that became known as heavy metal – and on top of that, the frontman practically invented the image of the wild rock star,” (BBC). “Ozzy’s band Black Sabbath made an indelible mark on music by pioneering heavy metal – and was hailed as a major influence by a range of artists who followed. With his wailing vocal style and ‘prince of darkness’ reputation, Ozzy led the band to become global stars – before he was fired, mainly because of his increasing dependency on drugs and alcohol. But he carved out a successful solo career before reuniting with the band, as well as becoming the unlikely star of a hit TV reality show which showcased his erratic domestic life.

He was born John Michael Osbourne in the Aston area of Birmingham (in) 1948. His father Jack was a toolmaker, while his mother Lillian worked at the Lucas factory, which made car components.” He seemed destined for a life at hard labor, starting his work life in a slaughterhouse. “What saved Ozzy was music: the sound of the Beatles singing ‘She Loves You’ out of a crackly transistor radio transformed his life. ‘It was such an incredible explosion of happiness and hope,’ he later told writer Bryan Appleyard. ‘I used to dream – wouldn’t it be great if Paul McCartney married my sister.'”

After layer upon layer of medical issues accumulated for Osbourne over the past few years, ” … he was determined to bow out of the public eye with a customary bang. He, (wife) Sharon, and his old Black Sabbath bandmates lined up a farewell concert at Villa Park football stadium, a stone’s throw from his childhood home, which took place just over two weeks ago. An array of fellow rock legends – including Metallica, Guns N’ Roses and Aerosmith’s Steven Tyler – lined up to perform and pay homage to him and Sabbath’s influence. Osbourne himself performed seated because of his mobility problems, but managed to recapture his old magic – belting out his hits while clapping, waving his arms and pulling wild-eyed looks, just like old times. ‘I’m proud of what I’ve achieved with my life,’ he once told an interviewer. ‘You couldn’t have written my life story if you’d been the best writer in the world.'”

Osbourne’s 2020 release “Ordinary Man” found the artist looking back both fondly and wistfully a full five years before his death today at the age of 76. With an assist by Elton John on piano and vocals, the track also features Slash on guitar, Duff McKagan on bass (both of Guns N’ Roses), and Chad Smith of the Red Hot Chili Peppers on drums. The tune was co-written by John Osbourne (Ozzy), Elton John, Andrew Watt (who also produced the track), Chad Smith, Duff McKagan, and Billy Walsh. This classic power ballad, lushly produced relative to Osbourne’s catalog overall, starts in E major. There’s a shift to B mixolydian for the chorus, first heard at 1:22 – 2:00. The pattern continues from there. Ozzy watches the compilation of photos and videos right along with us, making it a poignant experience for even the most casual of his fans.

Them | I Can Only Give You Everything

“It’s hard for some people to believe that the soulful romantic who wrote and crooned ‘Have I Told You Lately That I Love You’ was the same guy who had salaciously screamed out the letters ‘G-L-O-R-I-A,’ (DJ MJD’s Back Tracks). “Nevertheless, Van Morrison was indeed the singer and harmonica player in Them. The band — which took its name from a science fiction movie about gigantic irradiated ants — was from Belfast in Northern Ireland, but here in the U.S. they got lumped in as part of the “British Invasion.” And, like The Animals and The Rolling Stones, they did cover a lot of American blues and R&B standards. However, they also recorded several songs — including the aforementioned classic, ‘Gloria’ — that were templates for what would come to be known as ‘garage rock.’

‘I Can Only Give You Everything’ (1966) succinctly combines youthful exuberance and sarcastic arrogance. It also sounds like a twist on the old jazz/pop standard ‘I Can’t Give You Anything But Love’ … writer Richie Unterberger describes (it) as ‘one of his [Morrison’s] toughest, most snarling vocals ever, and indeed one of the snottiest vocals of the entire British Invasion… an utterly convincing mixture of aggressive and desperate pursuit of affection’ … In the 60’s, it was recorded by numerous bands, most notably The MC5 (it was the group’s first single) … That fuzz tone guitar riff took on a life of its own in 1996, when Beck used it in the song ‘Devil’s Haircut.'”

Starting in G mixolydian, the track features an accompaniment that pretty much amounts to percussion and a bass line which jumps upwards up by fourths (spelling out the first, fourth, and and flatted seventh of each chord). At 1:41, the tune shifts up by a half step to Ab mixolydian.

Al Stewart | Year of the Cat

“By the time Al Stewart finally achieved his commercial breakthrough with 1976’s ‘Year of the Cat,’ it was the culmination of a decade-long odyssey to bring the song to completion,” (Guitar Player). “Its bones date back to 1966, when Stewart penned a set of lyrics titled ‘Foot of the Stage.’ ‘It was about British comedian Tony Hancock,’ the Scottish folk-rocker recalls. ‘But the American record company had never heard of Tony Hancock and asked me to rewrite it.’ Stewart responded with a new set of lyrics about Princess Anne called ‘Horse of the Year.’ Not surprisingly, he says, ‘they requested another rewrite,’ … Luck would finally prevail on the third try. ‘I had a girlfriend who had a book on Vietnamese astrology, and it was opened on a chapter called Year of the Cat,’ Stewart reveals.

… A hallmark of the song is Stewart’s use of a major-seventh chord throughout the main progression, which imbues ‘Year of the Cat’ with a rich, wistful nostalgia. ‘Major sevenths are great and kind of cool,’ he exclaims. ‘I’ve probably never met a major seventh I didn’t like,’ … Released as a single in the U.S. in October 1976, ‘Year of the Cat’ climbed to #8 on the Billboard Hot 100, earning Stewart his first U.S. charting single … (and) remains a staple in the guitarist’s live set. He believes the song’s film noir undertones and varied instrumentation are pivotal to why the song continues to enthrall audiences. ‘The song’s longevity affirms that one should write about what one is interested in, without regards to fashion or favor of the crowd. Which is exactly what I did.’”

Built in E minor overall, the bridge (2:47 – 3:07) flips the emphasis over to the relative major key of G before the original minor key returns for an extended series of solos. The tune’s leisurely pace, lush textures, and storytelling focus somehow added up to hit status for the track, which at 6:4o clocked in at nearly twice the length of many singles.