USA – Page 40

Bryan Adams | Summer of ’69

“Bryan Adams’ smash hit ‘Summer of ‘69’ comes from the 1984 studio album Reckless,” (American Songwriter). “Shortly after its release, the single climbed to #5 on the Billboard Hot 100 and helped push Reckless to the #1 position on the Billboard 200 album chart in August 1985.

‘I wanted to capture a special energy on the track—and nearly lost my team doing it. I basically fought with everyone until it became the way it is today. It wasn’t easy getting it there. I had no idea it would become such a classic,” admits Adams. ‘Originally the song had been called The Best Days of My Life, but we had always played around with the idea of writing a song about summertime. At one point while we were doing the demo, I just threw in the lyric It was the summer of ’69 and it stuck. And the guitar intro is about the only thing I can play, so that was pretty easy.'”

The tune is built in D major overall, with a bridge that shifts to F major (1:41 – 1:55) before an interlude returns us to the original key.

The Piano Guys | Can’t Help Falling In Love With You

“Jon fell in love with this song when he heard the reggae cover by UB40, one of his favorite bands,” The Piano Guys write on their website. “His arranging style often reflects the influence of the classical music and training with which he was raised. These two elements collide in this arrangement. (Think Beethoven meets UB40 with a little tounge-in-cheek thrown in for fun).

Their cover of this song, originally popularized by Elvis, is the penultimate track on their 2013 album The Piano Guys 2. It begins in C and modulates to D at 2:05.

Shug Avery Comin’ To Town (from “The Color Purple”)

This song is from Act 1 of the 2005 Broadway musical The Color Purple, announcing the arrival of Shug Avery, a jazz singer to the rural Georgia community where the show is based. The Tony-nominated score by Brenda Russell, Allee Willis and Stephen Bray synthesizes blues, gospel and musical theater influences. A revival was mounted in 2015, and a movie adaptation of the musical was released last month on Christmas.

The song begins in Bb, shifts to G at 0:34, and finally modulates to C at 2:00.

Robert Glasper Experiment | Trust

“On Black Radio 2 (2013), the Robert Glasper Experiment attempts the near impossible: create a sequel that delivers fully on the promise of its groundbreaking, Grammy-winning predecessor,” (Qobuz). “Glasper’s group — bassist Derrick Hodge, Casey Benjamin on vocoder and synth, and drummer Mark Colenburg — again enlists a stellar cast of vocalists.

Instead of relying on covers, this set is almost entirely comprised of originals. There is an organic feel as well: there are no programmed loops on the record; everything was played live … Black Radio 2 is much more subtle than its predecessor. While it’s true that it possesses fewer standout performances, it’s wholly consistent, and on some level, it’s braver for relying on original material to carry it. It requires more listening to appreciate fully. Taken as a whole, however, it serves and fulfills the role of a sequel: the album deepens the band’s music-making aesthetic, and further establishes their sound not only as a signature, but even, perhaps, as its own genre.”

Co-written by Glasper and the track’s vocalist, Marsha Ambrosius, “Trust” starts in Eb minor; the chorus shifts into F dorian at 1:08, cycling through an incongruous but compelling G/A chord at the end of each phrase (first heard at 1:12). The short loop occurs a total of four times before the next verse begins at 1:36, reverting to the original key. The two key areas alternate from there.

Pretenders | Mystery Achievement

“Like (the Clash album) London Calling, Pretenders came out in the U.K. in 1979 and here in the U.S. in 1980,” (Medialoper). “So while it’s technically a 1979 album, all of its impact — however you define that slippery term — came in 1980. Therefore, like London Calling, I really think of it as the first of the great albums of the 1980s, not the last of the great albums of the 1970s.

Which made sense: while both albums couldn’t have existed without punk rock, both albums were also signposts towards what was going to happen after punk rock, as punk rock became just one more bit of musical history upon which to draw upon when creating a sound … Kicking off with a simple, unstoppable double-time backbeat by Martin Chambers and a Pete Farndon bassline that was its own instant hook, ‘Mystery Achievement’ was hooky, dancey and fun as all hell … “

After this musical perpetual motion machine revs up in C# minor, driven by its iconic bass line, 1:22 brings an unconventional modulation to D major for the chorus. At 1:50, the key reverts to C# minor for the next verse, alternating back and forth through the rest of the tune.

George Jones + Tammy Wynette | We’re Gonna Hold On

“George Jones and Tammy Wynette are two of the most legendary names in country music,” (WideOpenCountry). “From them came classic songs such as ‘He Stopped Loving Her Today,’ ‘Stand By Your Man’ and ‘Golden Ring.’ The two country singers also had a complex and tumultuous relationship and marriage. However, the two singers, once called ‘Mr. and Mrs. Country Music,’ were able to patch things up prior to Wynette’s death in 1998. Jones and Wynette’s story is revisited in the Showtime series George & Tammy.”

“Jones and Wynette were a country music super couple when they released ‘We’re Gonna Hold On’ in 1973,” (Billboard). “The seemingly autobiographical tune became the duo’s first #1 on Hot Country Songs together.”

The mid-tempo tune starts in Bb major with Wynette on the melody and Jones harmonizing; Jones then modulates up to Eb major for a solo verse 0:57; at 1:23, the duo shift back to Bb. At 1:50, a half-step upward modulation goes into effect through the end of the tune.

Aimee Mann | Knock It Off

“Mental Illness (2017) is Aimee Mann’s quintessential statement, tempering the discord of life with elegant chamber folk,” (Pitchfork). ” … Mann doing an album called Mental Illness is a concept so fitting it took her a lifetime to find it. Having already delivered a new wave smash, scored an Academy Award nomination, recorded eight stylistically diverse solo records as well a fiesty collaboration with punk’s Ted Leo, Mann is rightfully pissed that she’s nevertheless pigeonholed as a dreary fabricator of slow, sad-sack songs. So she’s answered her critics with her slowest, sad-sack-iest album yet, one populated by ordinary people struggling against operatic levels of existential pain at odds with their humdrum lives.

Mann has long been an expert of articulating this tension. Originally written about her attraction to a woman on the down low, her 1985 ‘Til Tuesday single ‘Voices Carry’ found its defining shape when record company meddling forced Mann to recast it as a heterosexual melodrama that became a feminist anthem about overcoming male dominance. Yet no one would’ve predicted then that Mann would rank among the few new wave survivors who’d achieve both consistent sales and artistic credibility well into the 21st century … A rocker at heart if not always in practice, Mann has sometimes been muted but never mellow; her new wave training and constitutional angst haven’t allowed it. To prepare for her latest, she studied the gentle craftsmanship of Bread, Dan Fogelberg, and other unhip smoothies that punk tossed on the anti-establishment bonfire with Yes and ELP. Mental Illness is accordingly made of skeletal strings, coolly regulated commentary, and minimal drums. Juxtaposing elegant chamber folk against the discord of lives out of balance, it’s musically more delicate than even her soft rock models.”

After a start in Bb major overall, “Knock It Off” features a soft-spoken breezy bridge between 1:46 – 2:02, shifting us into Db major. Returning to Bb major for the balance of the tune, Mann decisively closes with a simple plagal cadence.

Michael W. Smith (feat. Jennifer Nettles) | Christmas Day

We conclude this year’s holiday season at MotD with Michael W. Smith’s “Christmas Day,” featuring American singer Jennifer Nettles and the Nashville Children’s Choir. The track was first recorded for Smith’s 2007 album It’s A Wonderful Christmas; this new arrangement appears on the 2014 record The Spirit of Christmas.

Beginning in F, there is a downward modulation to D at 0:42, and another to B at 1:17. We return to D at 1:30, and land in Gb at 1:44.

Brian McKnight (feat. Take 6) | Bless This House

“Bless This House,” originally published in 1927 and written by Helen Taylor and May Brahe, is the final track on American singer Brian McKnight’s 2008 album I’ll Be Home For Christmas, his second holiday record. The track also features the a cappella group Take 6, known for their synthesis of jazz and spiritual themes.

The tune begins in Bb and shifts up to B at 1:48. A subtle transition to C major occurs around 3:29.

John Stoddart (feat. Lalah Hathaway) | Have Yourself a Merry Little Christmas

**This is the third installment in a three-part series featuring covers of “Have Yourself a Merry Little Christmas”**

American R&B/gospel singer John Stoddart featured five-time Grammy winner Lalah Hathaway (and daughter of Donny Hathaway) for this tune on his 2013 album Only On Christmas Day.

There are too many modulations to count in this cover, and throughout the album.