UK – Page 5

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.

Traffic | Many a Mile to Freedom

“Somewhere in Steve Winwood’s career, between the blue-eyed teen soul of ‘I’m a Man’ and ‘Gimme Some Lovin’’ to the made-for-the-80s albums of Arc of a Diver and Back in the High Life came a little bit of exploration,” (Music Street Journal). “He recorded with percussionist Stomu Yomash’ta and Mike Shrieve as Go, and Traffic’s version of “John Barleycorn” was a landmark in the then-popular folk-rock era. But as Traffic had its on-again off-again moments, the band was able to put out some great music, perhaps none better than this album. Besides the usual trio of Winwood, Jim Capaldi, and Chris Wood, bassist Ric Grech (another ex-Blind Faith member), uber-musician Jim Gordon, and percussionist “Rebop” Kwaku Baah … filled out the sound considerably. Fortunately the songs and arrangements knew when to open up and when to pull back. The result is a classic of the early ‘70s that still sounds fresh.”

On “Many a Mile to Freedom” (1971), “Winwood’s electric piano holds down the fort while Wood again offers some delicate lines on his flute. The guitar counters with some nice, simple arpeggiated lines on the between-chorus-and-verse space. There’s an extended ending here where the band locks into a good, relaxed groove.”

Various flavors of the C scale (shifting between major and minor) predominate the track, starting with the first verse (beginning at 0:21). Starting at 4:20, Bb major holds sway with a I and bVII chords alternating. At 5:12, we’ve returned to the tonality of the first section of the tune.

Engelbert Humperdinck | A Man Without Love

“In a career spanning over 50 years, Engelbert has generated sales in excess of 140 million records, including 64 gold albums and 35 platinum, four Grammy nominations, a Golden Globe, and stars on the Hollywood Walk of Fame, Las Vegas Walk of Fame, and Leicester Walk of Fame,” (artist website).

“He has performed for the Queen four times, several presidents and many heads of state. He has recorded everything from the most romantic ballads to movie theme songs, disco, rock, and even gospel … Engelbert exploded on to the music scene with The Beatles and the Rolling Stones … He became great friends with Elvis and the two legends often performed each other’s songs.”

1968’s “Man Without Love” by the UK native, the title track of an album of the same name shifts keys several times: up a half-step at 0:34, back down a half step to the original key at 1:26, then back up a half step again at 2:21 for the balance of the tune. The album reached high points of #3 in the UK and #12 that year.

Derek + the Dominos | Bell Bottom Blues

“Layla and Other Assorted Love Songs (1970) is Eric Clapton’s tortured love letter to the wife of his friend, George Harrison … Clapton poured his heart into the songs on Layla,” (American Songwriter). “The five co-writes with (Derek + the Dominos bandmate) Bobby Whitlock – songs like ‘Anyday’ and the bluesy ‘Tell The Truth’ – fuse high-energy rock with some of the most emotional electric blues of all time … Clapton would never again present the blues with such urgency as on the album versions of ‘Nobody Knows You When You’re Down and Out’ and the Big Bill Broonzy staple ‘Key to the Highway.’

‘Bell Bottom Blues,’ the only song on the album Clapton wrote entirely by himself, is a portrait of a man on the brink of collapse. After the record’s release, Clapton sank into depression and addiction. As Whitlock recalls, one of the great all-time rock and roll bands ‘didn’t break up, it just kind of dissipated … Eric locked himself away for a couple of years, and that was that.'”

Starting in a slightly de-tuned C major, the tune shifts up to A major for its plaintive chorus (heard for the time between 0:41 – 1:16). Verse 2 reverts to the original key. The pattern continues from there.

Tim Minchin | Three Minute Song

“Tim Minchin is an Australian musician, comedian, composer, actor, writer and director,” (artist website). “He has toured extensively in the US, UK and Australia, performing solo, with bands, and with symphony orchestras. He’s released five DVDs, the most recent recorded with the Heritage Orchestra at the Royal Albert Hall. He is the composer lyricist of two hit West End / Broadway musicals, Matilda and Groundhog Day, both of which won the Olivier Award for Best West End Musical and garnered nominations for Best Score and Best Musical in Broadway’s Tony Awards.

Minchin wrote, produced and starred in the Sky Atlantic / Foxtel TV series, Upright, in 2019. Other screen-acting credits include Atticus Fetch in Season 6 of Californication, a Logie Award-winning Smasher Sullivan in the ABC’s Secret River, and Friar Tuck in Lionsgate’s Robin Hood reboot. Stage highlights include Judas in the UK / Australian Arena tour of Jesus Christ Superstar in 2012, and Rosencrantz in the Sydney Theatre Company’s Rosencrantz and Guildenstern are Dead the following year. He has published two books: the graphic novel, ‘Storm,’ and the illustrated childrens’ book, ‘When I Grow Up’. He is a member of the Order of Australia, a philanthropist and a mediocre juggler. ‘Simultaneously an excellent stand-up comedian, a purveyor of physical comedy, an accomplished musician and a lyricist of diabolical ingenuity. Witty, smart, and unabashedly offensive.‘ (The Age, Melbourne)”

Minchin’s “Three Minute Song” needs little description, as it tells its own story. This 2011 performance of the tune was composed specifically for the BBC program Ruth Jones’ Easter Treat. 2:28 brings a whole-step key change, shoe-horned in among a huge number of syllables per minute and plenty of fast piano riffs.

Sean Maguire | Today’s the Day

“Best known for his starring roles in several U.S. sitcoms, British actor Sean Maguire was also responsible for a … mid-’90s pop career,” (AllMusic). “Born in Ilford, London in 1976, Maguire first shot to fame in the U.K. thanks to his role as Tegs Ratcliffe in the children’s school drama Grange Hill, and then later as Aidan Brosnan in the soap opera EastEnders.

(In 1994 he) pursued a music career … he scored a respectable eight Top 40 hits from two studio albums, 1994’s self-titled debut and 1996’s Spirit, over a three-year period. However, following the disappointing chart position of his Brit-pop-influenced 1997 single ‘Today’s the Day,’ he called time on his pop ambitions to concentrate on acting. (He later) landed parts in several American comedies, including Off Center and Eve and the Class, and in 2008 he played the lead role in Meet the Spartans, the critically panned (but box-office number one) parody of the film 300.”

“Today’s the Day,” (1997) written and produced by fellow Brit Phil Thornalley, starts in E major. At 0:31, a second section of the verse shifts of to G major. The chorus, arriving at 0:47, falls back to E major. The pattern continues from there.

The Kane Gang | Motor Town

Vocalist and songwriter Martin Brammer and multi-instrumentalist Dave Brewis met at school in the northeast town of Seaham, County Durham, England,” (AllMusic). “Teaming up with Paul Woods (vocals), the trio developed a liking for 60s/70s soul, funk and R&B which led them through several bands before forming the Kane Gang in late 1982 … ‘Motortown’, which brought (the band) a Top 40 hit … In 1991, vocalist Paul Woods departed to concentrate on a solo career. Brammer and Brewis attempted to record a new album before pulling the plug on the Kane Gang. Brammer went on to enjoy success as a songwriter, composing songs for the likes of Tina Turner, Beverley Knight, the Lighthouse Family, and James Morrison.”

“Motortown” (1985) peaked at #36 (US pop), #12 (US Adult Contemporary), #87 (Australia pop) and #45 (UK pop). The tune rides on a buoyant, sunny 12/8 groove throughout. After a start in G major, the chorus shifts to Bb major at 0:49. At 1:10, an unprepared shift brings us back to the original key for the next verse. The pattern continues until 2:19, when the extended bridge shifts to G minor, followed by an instrumental break in Eb (2:36 – 2:51) and a return to the pre-chorus and then the chorus, both in the original keys.

Heatwave | Whack That Axe

“Rod Temperton,” (Heatwave’s keyboardist) “could write … Temperton might have been the brains, but the rest of the guys did a great job executing his vision,” (SomethingElseReviews). “Party bands have gotten so pre-fab these days, relying so much on sampling and studio help. Heatwave, however, was a real band. The musicians who played on stage were the same ones who played it in the studio, with a minimal amount of session players brought in for Central Heating (1977). The musicianship … makes this period music hold up so well to the present day.

The vocals, led by brothers Keith and the late Johnnie Wilder, were well above the pack, too. Keith’s harder-edged vocal was perfectly complimented by Johnnie’s velvet-smooth croon. In the studio, they often added layers upon layers of choral vocals that rivaled in richness to contemporaries Earth Wind and Fire.” The band formed in the UK but had a mixed roster of two Brits, two Americans, a Swiss citizen, a Czechoslovak national, and a Jamaican!

Built in C major overall, “Whack That Axe” (written by Temperton and sharing an album with one of the band’s three biggest hits, “Grooveline”) gently flips over to the relative A minor for the brief bridge (2:08 – 2:26).

Squeeze | Black Coffee in Bed

“Few bands who came of age in the late ’70s and early ’80s released music that has stood the test of time like the British outfit Squeeze was able to do,” (American Songwriter). “That’s because the band’s success had nothing to do with hopping on any musical trends. Instead, it was all about songwriting, which never goes out of style. With songs like ‘Black Coffee in Bed,’ they ensured their music would enjoy a lengthy shelf life. Squeeze’s founding duo of Tilbrook and Difford remain in the band today, about 50 years after they first met and began writing songs together. That process has also become a major part of the band’s lore. Basically, Difford writes the lyrics and hands them off to Tilbrook who then puts those words to a tune. Other than Elton John and Bernie Taupin, it’s hard to find any other rock songwriting partnerships of that type that have enjoyed as much success.

… ‘Black Coffee in Bed’ (1982) came to life when Difford noticed that a page on one of his writing notebooks had the outline of his coffee cup on it. That set him off on a twisting tale of a guy moving from one relationship to the next. Difford told American Songwriter he made sure to hold onto the notebook: ‘Yeah, I still have the notepad in my office. That’s how the opening lines always happen,’ he said. ‘In fact, I’ve been working on something today that came from a picture that I saw. That’s how a lot of songs start. You have to see something or visualize an image, and pick up a pen and off you go.'”

After two verses and choruses in D major, the tune shifts up to Eb major for a guitar-centric interlude 2:58. But at 3:07, we’ve already started a transition back to the original key, made completely clear by 3:16.

Jethro Tull | Teacher

“English progressive rock giants Jethro Tull are a unique phenomenon in popular music history,” (AllMusic). “Led by enigmatic frontman Ian Anderson — a singer, songwriter, guitarist, and rock’s premier flutist … their mix of heavy rock, flute-led folk melodies, blues licks, surreal, impossibly dense lyrics, and overall profundity defies easy analysis, yet in their 1970s heyday, they garnered a massive level of commercial success, notching a string of gold and platinum records and securing their place within the classic rock canon with releases like Aqualung (1971), Thick as a Brick (1972), and A Passion Play (1973). Even as critics cooled on them, Tull remained popular through later phases with their folk-rock records of the late ’70s, the electronic experimentation of the early ’80s, and eventually a Grammy Award-winning return to hard rock with 1987’s Crest of a Knave.

Benefit (1970) was the album on which the Jethro Tull sound solidified around folk music, abandoning blues entirely. Beginning with the opening number, “With You There to Help Me,” (Ian) Anderson adopts his now-familiar, slightly mournful folksinger/sage persona, with a rather sardonic outlook on life and the world…”

The mid-tempo track “Teacher” is built in A major overall, but the chorus features a D major/minor mix and then an instrumental section in B minor (first heard at 0:48 and 1:02). The pattern continues with verse 2.