Tag: UK

The Beatles | While My Guitar Gently Weeps

“In spring 1968, George Harrison found himself eager to play the guitar,” (Financial Times). “This may not sound like a particularly illuminating observation about the lead guitarist of the world’s biggest rock group, but the recording sessions for what became known as The Beatles’ White Album marked the first time in a while that he had approached his instrument with anything more than grudging professional obligation. For the past three years he had been fixated on mastering the sitar, but now he was finding joy in his six-string again … (it) was one of The Beatles’ best compositions — a perfectly balanced mixture of elegiac vocals and electrified solos; of West Coast dream-rock and eastern philosophy.

Prior to writing the track, Harrison had immersed himself in the teachings of the I-Ching, which posits that there is meaning inherent in ostensibly random events. Putting this idea into practice, he contrived to write a song based around two words plucked arbitrarily from a nearby book: ‘gently weeps.’ But perhaps there was nothing incidental about the choice of this emotive phrase; Harrison was, after all, in a fragile state, alienated from his own band … Things had become so fraught that Harrison asked his close friend Eric Clapton to help out. Not only would his presence cajole the other three into pulling their weight, but he was, handily, one of the best guitarists in the business; his uncredited playing on ‘While My Guitar Gently Weeps’ became one of the greatest moments of individual virtuosity on any Beatles track.”

The tune was later covered by a broad array of artists: Tom Petty, Jeff Lynne, and Prince (at Harrison’s posthumous 1988 induction into the Rock + Roll Hall of Fame); Peter Frampton; Jeff Healey; Carlos Santana, India Arie, and Yo-Yo Ma; and Regina Spektor. “For most, the song is unmistakably Harrison’s personal triumph; ‘Only a guitar player could write that,’ Mick Jagger noted.” There is probably not much need to time slate this tune; the verses (in A minor) and choruses (in A major) are about as clearly delineated as any tune we’ve featured!

Manfred Mann | Fox On the Run

The bluegrass standard ‘Fox On the Run’ “… (was) written by Tony Hazzard in 1968,” (Bluegrass Today) ” … Having been raised in the country on the outskirts of Liverpool as a young boy, Tony had a lot of inspiration to draw from for the imagery in the song. ‘The main source was an imagined scene, described in the chorus, of a hot summer’s day, a field of wheat sloping down to a river in the sunshine, and a blonde woman walking through the wheat field towards the river … The second source was really just the feel of the music. I was a fan of The Band in the late 60s, and their style was running through me at the time.’

… Tony played the song for British rockers Manfred Mann’s Earth Band and in 1968, ‘Fox on the Run’ became a hit song for them in the UK … In 1976, Tom T. Hall took ‘Fox On the Run’ to #9 on the US Billboard Charts and to #12 in Canada. The song went on to be recorded many more times by bluegrass and country bands all over the US. You can hardly walk past a festival jam without hearing a version of this beloved chestnut … (Tony adds) ‘I eventually realized it had become a standard, and I’m very proud of that fact; the song will remain long after I’m gone, and if people think it’s an old folk song, that’s fine by me!’”

After a start in C major, a surprising shift to Bb major hits at 0:33, ushered in by an odd time signature. At 0:57, the tune reverts to the original key. These sections alternate until 2:08, when a half-step key change to Db major unfolds and remains in effect for the balance of the tune.

For good measure, here’s an example of the tune’s frequent setting in the Bluegrass genre, as represented by Bolt Hill Band:

Genesis | You Might Recall

“On the one side stood their proggy past; on the other, pop stardom. Even the album itself – released in tandem with a film of the same name on June 1, 1982, it chronicles the tours in support of 1980’s Duke and 1981’s Abacab – seems to be peeking ahead,” (Ultimate Classic Rock). “The fourth side features a handful of sleek tracks left over from the Duke sessions and 1982’s 3×3 EP.

‘The direction we took is very obvious, having started off in a very complex and technical background,’ (guitarist) Mike Rutherford told the Oklahoman in 1982. ‘If you want to progress and change, where do you go? You don’t want to get more technical and complex. You have to go simpler in the sense you get more into feeling … you’ve got to do what you enjoy doing. It’s as simple as that. There’s no other way to do it and be honest with yourself.’ Three Sides Live (is) a recommended entry point for anyone who came to Genesis via the MTV-era hits, and is now curious about what came before. It’s a perfect bridge to the past.”

The “single side of studio tracks from the double album” conceit only worked during the vinyl era, which in 1982 was within five years of its end. “You Might Recall,” one of the tracks from the studio side, starts in C minor with an energetic, arpeggiated keyboard hook, prominently out front in the mix. As the verse begins at 0:19, keyboardist Tony Banks’ marshy comping texture lets the lavish chord progressions and Phil Collins’ rangy vocal melody shine. At 1:01, the three-section chorus arrives with a shift to C major, rich in compound chords, supported by a pedal-point G in the bass throughout. After eight measures (1:21), part two arrives with a shift to Bb major and a pedal-point F. Finally, part three features eight measures of F major with C in the bass (1:43). At 2:04, a C minor interlude mirroring the hook-centric intro returns, and we cycle through the pattern again. As a parting gift, the second interlude (following verse 2 and chorus 2) shifts up to to new territory — G major with D in the bass (3:47 – 4:08) — before the 3-segment chorus returns and fades.

Swing Out Sister | You On My Mind

As Swing Out Sister’s vocalist, Corinne Drewery, suggested in an appearance on ITV’s Loose Women in 2008 … “a lot of people don’t realize that musicians are still active unless they’re constantly in the singles charts,” (PopMatters). “The insinuation that Swing Out Sister were on some sort of delusional comeback trail after years of inactivity was an indication of the way daytime TV understands the music world – in clichés and brash, broad strokes that don’t necessarily tally with reality.

As anyone whose cultural reference points aren’t confined to Radio 1 could have pointed out, Swing Out Sister have been a remarkably durable, successful and prolific unit … Over the course of three decades, they’ve made increasingly fine-spun music that brushes up against soul, jazz, lounge, exotica, film-soundtrack music, and sunshine pop. Corinne’s smooth, elegant vocals are still the perfect complement to Andy Connell’s elaborate, electronic-orchestral soundscapes.

… Swing Out Sister … pulled out all the stops for a fully orchestrated album (Kaleidoscope World, 1989) that went even deeper into retro cinema and Bond-theme motifs than the debut. It was more challenging, but also more rewarding, as it was characterized by sweeping grandeur, unabashed glamour, high romance, and luscious intrigue. Perhaps as a consequence, its songs didn’t succeed as singles quite as consistently as those on the first album, with only ‘You on My Mind’ rupturing the UK Top 40. Regardless of that, it remains an artistic peak.”

The sole hit from the album certainly boasts an incandescent wide-screen feel. Starting in D major, the first verse shifts to Eb major at 0:25. 0:45 brings a short pre-chorus in Gb mixolydian, leading into a chorus (0:51) which transitions back to D major. The pattern continues from there.

Many thanks to composer, performer, and devoted music theoretician Ari S. for this wonderful contribution to MotD — her third!

Julian Cope | World Shut Your Mouth

“Retreating from the collapse of the (band) Teardrop Explodes to his hometown of Tamworth UK, Julian Cope produced his first solo effort,” (World Shut Your Mouth, 1984) … “The result is a surprisingly vibrant, rich album that shows Cope easily moving on from his group days while retaining his unique powerful and natural gifts for singing and songwriting,” (AllMusic). “If there’s something about the sound of World that suggests its early-’80s recording dates … Cope’s own particular, heavily psych-into-pop-inspired goals aren’t lost in it.

Some of his songs are so inspired that one just has to wonder how in the world they didn’t end up as hits somewhere … Throughout World, Cope demonstrates why he’s one of the best, most unaffected singers in rock around, his vocals carrying sweep and passion without sounding like he’s trying to impress himself or others.”

Built in an uptuned B major overall, there’s a brief key-of-the-moment shift (2:28 -2:36) up a whole step to C# after verses and choruses 1 and 2, an instrumental break, and another chorus before a return to the original key. But at 3:06, C# major is back to accompany us through the instrumental outro.

Mama’s Gun | Cheap Hotel

“Cheap Hotel (2014) is UK band Mama’s Gun third album,” (Soul&Jazz&Funk). “The Andy Platts-fronted outfit debuted with Routes To Riches and its pleasing, soul-slanted pop won underground acclaim, though the set went to 3 in the Japanese album charts! The band’s second LP, The Life And Soul, was (as the name might imply) a much more soulful affair and one of the tracks, ‘Pots Of Gold’ won the affection of real soul fans worldwide. For Cheap Hotel, the band … have reunited with their first producer – Julian Simmons (who’s recently worked with Ed Sheeran and the Guillemots) and not surprisingly the overall sound of the set reverts back to a poppier flavor, albeit a very classy kind of pop with, yes, a touch of soul still about it.

Group leader Platts, we’re told, has eclectic tastes. He cites Motown and funk as amongst his formative influences, but he admits to a huge passion for ELO (Electric Light Orchestra) — and it’s that Brummie based outfit’s sound that dominates Cheap Hotel … Dip in almost anywhere here and you’ll be reminded of ELO – maybe garnished with a hint of the Beatles or the sounds of a little gentleman called Prince, but it’s almost all that slick, polished ELO pop sound … Cheap Hotel is a great pop album with just a touch of soul about it.”

The title track begins like a particularly funky day on Sesame Street, complete with a hook doubled between whistles and a tinny toy xylophone. But after the verse starts at 0:18, occasional extra beats and a Prince-like high lead vocal on the chorus confirm that this isn’t a theme from a children’s TV show. At 0:53, the second verse brings an upward half-step key change, but at 1:09, the tonality deflates back to the original key. It’s tempting to wait for another key change at some point during the tune, but other than some quick shifts during an instrumental break (1:29 – 1:53), it never arrives!

Kestrel | The Acrobat

“(A Newcastle, UK band,) Kestrel, debuted in 1975 … a symphonic rock quintet that were doing the London college circuit when they caught the attention of producer John Worth, who signed them and released their one album in 1975 (Background Magazine) … The (self-titled) original album was almost 45 minutes long and contained eight tracks.

Right from the start you hear you’re dealing with a progressive rock outfit. Not so strange when you do know that (guitarist/vocalist Dave) Black was influenced at the time by acts such as Gentle Giant, Jethro Tull, Emerson, Lake and Palmer, Camel, Yes, and Genesis. However, don’t expect that kind of music on this release. The songs the band recorded for their album were more radio-friendly than most of the bands that had influenced them … They were great in the lead and harmony vocals and could shine on their instruments as well. At the same time, they mixed their complex compositions with rather catchy sounding three-minute songs … which gave them a couple of hits in their own country. Unfortunately, the lack of promotion of by their record company at the time made it impossible that Kestrel would receive the same international success … the band had certainly everything to make it bigger.”

On “The Acrobat,” after a quiet rubato intro, the groove kicks in for the first verse in A major at 0:35. A rangy, often highly syncopated vocal melody, kept front and center in the mix, is very much the focus from there on. The tune touches on C major around the 1:00 mark, A major at 1:06, C minor at 1:11, etc., etc. At that point, we’re more or less harmonically unmoored. 2:58 brings a Fender Rhodes-led jazz interlude which decays into something resembling self-parody before we return to more familiar territory at 3:41. At 4:35, we circle back to a new verse at last. Light in the Attic called the album “(an) unsung prog-rock gem … boasting an abundance of technical musicianship and inhabiting a space somewhere between golden-age prog and AOR.” Whether or not you agree, we hope you packed a lunch!

Dusty Springfield | Just One Smile

“Despite its status as a classic record, Dusty in Memphis (1969) had less than auspicious beginnings,” (BBC). “By 1968, Springfield had scored a string of chart successes with what she called ‘big ballady things’ and her decision to make an album in Memphis, home of hard edged R’n’B grooves, was viewed with puzzlement by many.” The distance from Springfield’s native UK to Memphis was large, both in miles and in sonic difference.

“Teaming up with the crack production/arrangement team of Jerry Wexler, Tom Dowd and Arif Mardin (responsible for Aretha Franklin’s Atlantic classics) also proved a bit much initially for Springfield, whose confidence in her vocal abilities was never very high … Springfield unsurprisingly resists any temptation to do an Aretha, instead relying on understatement, timing and delivery rather than vocal firepower. The songs (all by Brill building denizens) are all top notch, and Springfield’s interpretation of them is peerless … Mardin’s sensitive blend of Bacharach poise and Memphis funk provides the perfect frame for Dusty’s blue-eyed soul.”

Written by Randy Newman, “Just One Smile” was previously recorded by Gene Pitney. The tune starts in Eb minor, with plenty of harmonic sidesteps, a la the above mentioned Bachrachian influence. The tune then shifts to Bb major for the chorus (0:49 – 1:10) before reverting to the original key.

Procol Harum | Salad Days (Are Here Again)

“Formed in 1967, the sophisticated and forward-looking British band Procol Harum … recorded and released 1967’s ‘A Whiter Shade of Pale,’ a smash hit that today remains the band’s most well-known song,” (MusoScribe). “After opening for Jimi Hendrix in London in that same year, the band organized a tour.

… The band’s sound had always been a mixture of the members’ r&b influences (and) a progressive – but not overly fussy – musical bent (aided and abetted by the presence of not one but two keyboard players) … Those qualities had largely fallen out of favor with the record-buying public by 1977, so the members went their separate ways.” The band regrouped several times, including a new album, Novum, and touring in the late 2010s.

“Salad Days Are Here Again” (1967) begins in G major. At 0:31, there’s a brief shift to an F major chorus before a return to G at 0:44.

Calvin Harris | Stars Come Out

The Guardian seems to be no fan of producer and vocalist Calvin Harris, who hails from Dumfries, Scotland: “Some musical genres have an everlasting impact: all subsequent rock and pop bears something of their influence. Others just vanish: once their time has passed, it’s as if they never happened. So it was with handbag house, which bestrode the charts in the mid-90s, the glittery, shallow sound of Britain’s mainstream dancefloors … Handbag house seemed almost wilfully depthless, which, you could argue, made it the perfect music to soundtrack the brainless antics of DJs and club promoters … Handbag was music that sounded like it thought that was quite a good idea.”

Harris released the track “Stars Come Out” on his 2009 album Ready for the Weekend. The track features ” … the sound of a producer frantically chucking ideas at a melody so slight it’s impossible to hit. When Ready for the Weekend is over, it vanishes, leaving no discernible trace: like the music that inspired it, it’s as if it never happened.”

Nonetheless, the uptempo tune has garnered nearly 400K Youtube views, while Harris’ channel has nearly 20 million subscribers! The track starts in D minor and cycles through multiple repeating sections before shifting up to A minor at 2:57.