Tag: USA

The Association | Cherish

The Association, AllMusic reports, “was one of the more underrated groups to come out of the mid-to-late ’60s. Creators of an enviable string of hits from 1966 through 1969 … the group’s smooth harmonies and pop-oriented sound … made them regular occupants of the highest reaches of the pop charts for two years. Their biggest hits became instant staples of AM radio play lists, which was a respectable achievement for most musicians at the time. That same sound, along with their AM radio popularity, however, proved a liability as the music environment around them changed at the end of the decade.”

“Cherish” reached #22 on BMI’s list of the 100 Most Played Songs on Television and Radio of the 20th century. Written by Terry Kirkman, the track reached #1 on the U.S. Billboard Hot 100, holding that position for three weeks. Billboard reported it as the #7 song of 1966. According to reporting by the Myrtle Beach Sun News, the band’s record label originally claimed that the tune sounded “too old and archaic.” But original band member Jim Yester retorted that the band “showed we can have archaic and eat it, too.”

Regular mod scout JB adds a few words about this submission: “It truly is an iconic song; the modulation at 2:18 — with its bridge build-up starting at 1:50 — has enough wattage to power LA for a day. Truly a piece of pop perfection!”

Ella Fitzgerald | What’s New

JazzStandards.com reports that “What’s New,” a classic standard, was written by Bob Haggart with lyrics by Johnny Burke. “In an era when cute and romantic had given way to urbane, Burke devised a clever gimmick to tell a love story: casual conversational lyrics telling only one side of the conversation. The result was ‘What’s New?’ … introduced by Bob Crosby and His Orchestra with vocalist Teddy Grace in 1939, (it reached) number ten on the pop charts.

“Recognized worldwide as “The First Lady of Song,” AllMusic reports, “Ella Fitzgerald is arguably the finest female jazz vocalist of all time. Blessed with a highly resonant voice, wide range, and near-perfect elocution, Fitzgerald also possessed a deft sense of swing, and with her brilliant scat technique, could hold her own against any of her instrumental contemporaries. Over her 50-year career, she earned 13 Grammy Awards, sold over 40 million albums, and picked up numerous accolades including a National Medal of Arts and the Presidential Medal of Freedom. A hugely important cultural figure, Fitzgerald made an immeasurable impact on the development of jazz and popular music, and remains a touchstone for fans and artists decades after her passing.”

The bridge, normally a ‘B section,’ is simply the same tune and chord progression with some slight melodic alteration in the last two measures (an A1/A1/A2/A1 form). The A2 section modulates up a perfect fourth. Ella’s version here starts in F major and jumps up to Bb major (0:54 – 1:21).

Bonnie Raitt | Something To Talk About

“Something to Talk About” is a single from Bonnie Raitt’s smash hit album Luck of the Draw (1991). The album exceeded even the strong success of her previous career-topping release Nick of Time (1989). These two albums helped Raitt transition from a respected but lesser-known Americana/blues musician to expanded fame as a blues-inflected rock artist — quite a tall order.

According to Songfacts, the Shirley Eikhard-penned tune “won a Grammy Award for Best Female Pop Vocal Performance, beating out a field comprised of Oleta Adams, Mariah Carey, Amy Grant, and Whitney Houston…this was by far Raitt’s biggest chart hit in the United States.” Discogs reports that the liner notes included a dedication to blues guitarist Stevie Ray Vaughan, who died in 1990. Vaughan had encouraged Raitt to stop her longtime alcohol abuse. The dedication is the simple phrase “still burning bright.”

The tune modulates up a minor third at 2:30, at the beginning of a section which sounds at first like a bridge but functions as an extended outro.

The Chicks | You Were Mine

Earlier today, the American country band The Dixie Chicks announced they would be dropping “Dixie” from their name, becoming simply The Chicks. The change was made without much fanfare; in a brief statement on its new website, the band states simply: “We want to meet this moment.” To accompany this news, they dropped a new single from their upcoming album Gaslighter (due out next month — the group’s first album in fourteen years) titled “March March,” featuring images of current and historical protests — for women’s rights, gay rights, environmental causes and Black Lives Matter.

While the new track doesn’t have a key change, we thought it would be an appropriate day to feature The Chicks. “You Were Mine” was released in 1998, the fourth single from their hit album Wide Open Spaces. The song is notable for being the first to feature Natalie Maines as the lead vocal; the Erwin sisters were so impressed with her performance on the original demo that she would go on to replace Laura Lynch in the band. It is also a deeply personal song for the group as the lyrics describe the breakup of the Erwin sisters’ parents. It spent two weeks in the #1 spot on the US Country Singles chart, and reached #34 on the Hot 100 Pop Singles Chart. Key change at 3:03.

I’d Give It All For You (from “Songs for a New World”)

In recognition of Jason Robert Brown‘s 50th birthday this past Saturday, today we feature “I’d Give It All For You” from his debut production Songs For A New World, which premiered Off-Broadway in 1995. Straddling the line between musical and song cycle, the songs are connected through their depictions of moments of decision for the show’s four characters. Brown has described Songs as being “about one moment. It’s about hitting a wall and having to make a choice, or take a stand, or turn around and go back.” Here, a pair of former lovers are reuniting after attempting to live without each other.

Beginning in D major, the song stays there while each character sings a verse and chorus, narrating their backstories and how they ended up where they are. With the onset of the bridge at 3:01, the key center becomes ambiguous, reflecting the more unsettled, striving nature of the lyrics as the characters engage in a call-and-response. When the dust settles, we emerge into the sunlight of the chorus at 4:04 in A major, followed by a wistful, concluding coda in G major.

Performed here by noted Brown interpreter Shoshana Bean and Brown himself at the keyboard at an event at the Library of Congress in 2016. Happy 50th, JRB!

Utopia | Only Human

An unapologetic ballad on Swing to the Right (1982), an album generally driven by uptempo tunes, Utopia‘s “Only Human” covers ground familiar to fans of Todd Rundgren, the band’s founder, primary frontman, co-writer, and guitarist. AllMusic.com reviewed the album as “doggedly pursu(ing) a weird fusion of new wave pop, arena rock, and soul, all spiked with social commentary” — perhaps not surprising, as the lead vocal and composition duties were distributed among the rock quartet.

The lyrics touch on existential challenges which confront us all, at one time or another. But there is also a typically Rundgren-esque affection for humanity overarching the melancholy. In the end, “Love Is the Answer” and mutual understanding is the end goal: never guaranteed, but therefore prized all the more.

After an intro and verses in B minor, the arrival of the chorus flips over into the relative major (D major) at 2:17; the pattern continues throughout. Utopia’s trademark close four-part harmonies overlay a harmonic complexity typical of the quartet.

Brenda Russell | Piano In The Dark

“Piano In The Dark” was the first single released from Brenda Russell‘s 1988 album Get Here. The track earned Russell two Grammy nominations in 1989, including one for Song Of The Year, and went on to be her biggest hit, peaking at #6 on the Billboard Hot 100 chart. When asked about the genesis of the song in an interview, Russell said:

“Piano In The Dark” was a wonderful experience. I had two co-writers on that song. Scott Cutler and Jeffrey Hall. And they had sent me this music. And I’m a person that collects song titles. You know, if I hear a good title, like talking to a friend or whatever, I’ll write it down. I keep a little song title book. I always think that in every title there’s a song somewhere, and you’ve just got to thin it out. So when they sent me this music, I thought, Whoa, it’s so haunting and beautiful, I love that. And I was flipping through my title book and I just thought, piano in the dark, I wonder if that would go with that music I heard. That’s as easy as that happened. I had that title and I thought, Hmmm, maybe that’ll work.

…[the song is] about this woman. Her lover plays piano. And she wants to leave him, because she’s really kind of bored. But every time she does that, he sits down and starts playing. And it sucks her right back in. She’s so in love with the way he plays. And he plays in the dark, theoretically. It’s not that literal, necessarily. But that’s what keeps her to him, basically, is his music. And I just found that was an interesting story to write about.”

The verses are set in F minor, and Russell modulates seamlessly to the parallel major for the choruses at 1:03, 2:06, and 2:59.

Mariah Carey | Always Be My Baby

The fourth single released from Mariah Carey’s fifth studio album, Daydream, “Always Be My Baby” was the most played song on the radio in 1996, and the first single to debut at #2 on the Billboard Hot 100 list. The lyrics describes the lingering attachment the singer retains towards her former lover, even as they both go their separate ways. The track is one of Carey’s most successful, reaching Triple Platinum status with well over 2 million sales.

The key change is at 3:01. Many thanks to MotD fan Rob Penttinen for this submission!

The Lawrence Welk Show | One Toke Over the Line

San Francisco-based folk duo Brewer + Shipley scored a top 10 hit in 1971 with “One Toke Over the Line.” Their website details that “while the record buying public was casting its vote of approval by buying the single, the (soon to be disgraced) Vice President of the United States, Spiro Agnew, labeled (us) as subversives, and then strong-armed the FCC to ban ‘One Toke’ from the airwaves just as it was peaking on the charts.” The band was even added to Richard Nixon’s notorious Enemies List!

Songfacts.com reports that “some radio stations refused to play this song because of the drug references, but not everyone got this meaning. In 1971 the song was performed on the Lawrence Welk Show by the wholesome-looking couple Gail Farrell and Dick Dale, who clearly had NO clue what a toke was. Welk, at the conclusion of the performance of the song, remarked, without any hint of humor, ‘there you’ve heard a modern spiritual by Gail and Dale.'”

The original tune has no modulation, but the Welk crew’s cover, which broke the earnestness meter from its first few bars, added a half-step upward key change at 1:36. The AV Club adds that “Welk’s big band had been carefully pulled together over his years touring and on the radio, and it was filled with the sorts of nice, Midwestern boys like Welk himself (a North Dakota native). The primary goal of the program was to make sure the music never stopped playing, and that it never got to be too much for the show’s predominantly older audience. And that audience was loyal, sticking with the program as it moved from a locally based Los Angeles show to a national one to one that ran in first-run syndication. Welk had a program on the air somewhere in the country from 1951 to 1982, a staggeringly long run that no other musical variety program can really touch. And he did it all without catering to changing whims or fashions, outside of the occasional badly misjudged musical number, such as …”

…and just for good measure, the original: