A live-action adaptation of Disney’s beloved 1989 animated film The Little Mermaid, starring Halle Bailey, was released this past May. Alan Menken, who wrote the music for the original film, collaborated with Lin-Manuel Miranda on some additional songs, including the one we are featuring here. Menken’s trademark soaring melody is performed by Jonah Hauer-King, who portrays Prince Eric.
The track starts in F minor and modulates up a 4th to Bb at 2:08
“Livingston Taylor picked up his first guitar at the age of 13, which began a more than 50-year career that has encompassed performance, songwriting, and teaching,” (Taylor’s website). “Born in Boston and raised in North Carolina, Livingston is the fourth child in a very musical family that includes Alex, James, Kate, and Hugh. Livingston recorded his first record at the age of 19 and has continued to create beautifully crafted, introspective, original songs as well as sparkling interpretations of the classic songbook that have earned him enthusiastic listeners worldwide.”
Taylor has released several Top 40 hits, including “I Will Be in Love with You” (1978). He’s collaborated and toured with a wide range of artists, including Joni Mitchell, Linda Ronstadt, Fleetwood Mac, Jimmy Buffett, and Jethro Tull. “For over three decades, Livingston taught at the Berklee College of Music, where he created a course on Stage Performance.” Taylor’s former students at Berklee include Charlie Puth, John Mayer, Gavin McGraw, Susan Tedesci, and many others.
“I Will Be In Love With You,” which reached #30 on the Pop chart and #15 on the Adult Contemporary chart, clearly presents Taylor’s phrasing and musical vocabulary as parallels to those of his big brother James. At a distance, his vocal timbre is also much like his brother’s — but upon more careful listening, it’s easier to differentiate. The tune alternates throughout between C major and D major; the first unadorned modulation hits during the intro (0:19) and others follow at 1:58 and 2:11. All of the sections with vocals are in D major.
The TV movie High School Musical premiered on the Disney Channel in 2006 and was the most-watched premiere in the network’s history; there have since been two spin-offs. “Start of Something New,” written by Matthew Gerrard and Robbie Neil, is the first track on the film’s soundtrack, which was the best-selling album of 2006.
The song begins in C, modulates to D after 8 bars at 0:28, and shifts up to E for the last chorus at 2:26.
Great artists steal, they say. And so Billy Joe Royal’s 1965 hit (Billboard #9) “Down in the Boondocks” shamelessly lifted the scratch guitar lick opening from Gene Pitney’s recording of the Bacharach/David song “Twenty-four Hours From Tulsa” from a couple of years before.
The song’s theme, a boy of lower socioeconomic status is troubled by his circumstances, which carry over to his relationship with a girl, was common in popular song of the day. Think of the Four Seasons’ “Dawn” (1963), or Johnny Rivers’ “Poor Side of Town” (1966).
Billy Joe Royal never had as big a hit again, though he came close with “Cherry Hill Park” (Billboard #15) in 1969. He continued recording for many years, with several songs registering on the country charts in the 1980s.
The verse pitches up a half-step at 1:27.
“If A Tribe Called Quest had stopped with their first album, People’s Instinctive Travels And The Paths Of Rhythm, they’d still be regarded as a seminal hip hop act (BBC) … The laid back style of Q-Tip and Phife Dawg over the jazz sampleology of Ali Shaheed Muhammad, along with the daisy age raps of De La Soul, almost single-handedly defined the alternative rap scene … So when they followed it up with as close to a perfect album, The Low End Theory (1991), their place in history was assured.
Low End… pushed the jazz connection even further with a sparse but not quite minimal selection of grooves built around some exquisitely chosen upright bass samples, and in the case of ‘Verses From The Abstract’ actually utilising the real-time skills of legend Ron Carter … Like its predecessor, it combined humour with insight to show the world that ‘rap’ needn’t be equated with the worst aspects of the American dream. Q-Tip and Phife’s posse flows were, by this point, honed to perfection, with most tracks seeing them bounce off each other like some funked-up game of table tennis … this is another feel-good mix of smart grooves and the wittiest rhymes this side of Noel Coward. Acclaimed as one of the best 100 albums of all time by Rolling Stone, The Low End Theory remains one of hip hop’s defining moments and deserves to be in everyone’s record collection. Probably now more than ever…”
The track opens with an angular, heavily processed sax line that outlines C major and Bb major chords and doesn’t settle easily into any key, but shifts into a much clearer E minor as the first verse starts at 0:28. The two-chord vamp (A/B -> E) that underlies most of the tune is more complex than you might expect: the B bass note hits on beat one, but the A chord is delayed until the “and” of beat 2 and bleeds into the E bass note on beat 1 of the next measure. From 1:49 – 2:08 and again for the outro at 3:28, the C major intro riff returns.
Many thanks to Mark B. for this submission!
American singer/songwriter Neil Diamond makes his MotD debut with “Cracklin’ Rosie,” the first track on his 1970 album Tap Root Manuscript. The song was Diamond’s first #1 single, and his third to sell a million copies. It begins in Db and modulates up to D for the last chorus at 2:14.
“The 1960s has the duo of Tommy Boyce and Bobby Hart to thank for some of the biggest pop-rock hits to come out of the decade,” (American Songwriter). “The hit songwriting duo is behind some of The Monkees’ greatest hits including ‘Last Train to Clarksville.’ But they had multiple claims to fame before and after they were topping the charts with The Monkees and were even singers in their own right.
Both born in 1939, Boyce was a native of Charlottesville, Virginia, while Hart was raised in Phoenix, Arizona. Though they were from opposite ends of the country, the two came together through their mutual love of music and desire to make it a career that brought them to Los Angeles. After high school, Hart entered the Army, later moving to LA to pursue a career as a singer where Boyce was living and trying to make it as a songwriter.”
Along the way, the duo collaborated with Fats Domino, Paul Revere and the Raiders, Jay and the Americans, the aforementioned Monkees, etc. “Their success with The Monkees served as a launching pad for their own career as artists. From 1967 to 1969, Boyce and Hart released seven singles off three albums. Their most famous hit was ‘I Wonder What She’s Doing Tonight’ in 1967, which reached the Top 10 on the Billboard Hot 100.”
The duo released “Alice Long (You’re Still My Favorite Girlfriend)” in 1968. After starting in G major, the uptempo pop track jumps up chromatically and lands in Bb major at 2:00.
Many thanks to MotD regular Rob Penttinen, who has developed an uncanny ability to find half-forgotten ancient pop tracks on obscure AM radio stations!
O-Town is an American boy band that formed in 2000 as a result of the reality television series Making A Band. After releasing two albums, the group disbanded in 2003. “Baby I Would” is the last track on their eponymous debut record, written by MotD stalwart Diane Warren.
The song alternates between Bb for the verses and C for the choruses; coming out of the bridge, it subverts expectations by appearing as if it will modulate as usual up to C, but after a false start shifts up another whole step to D at 2:48.
“(Diana) Ross had always been something of an actress — a voice capable of conveying the entirely fictional emotional weight of the circumstances that the songs described,” (Stereogum). “She was beautiful and driven and precise and galactically famous, and it was only natural that she should become a movie star, too.” Ross had acted before, starring as jazz chanteuse Billie Holiday in Lady Sings the Blues. But her Motown boss and romantic partner, Berry Gordy, was a first-time director for 1975’s Mahogany.
“Mahogany bombed. It got terrible reviews and did bad business. Gordy never directed another movie. Ross only took one more big-screen role, in the 1978 musical The Wiz. These days, Mahogany has its defenders, but it’s mostly just remembered for its camp value. The movie did, however, spawn one unqualified success: The soft and elegant theme song,” co-written by Michael Masser and Gerry Goffin, “became Ross’ third solo #1 … a slight song, but it’s a pretty one … It’s a song that practically drowns in its own drama, filling up the mix with sighing strings and wailing backup singers and fluttering acoustic guitars and pianos. Musically, the song has nothing to do with the effervescent pop-soul of Motown’s ’60s past. It’s closer to down-the-middle Los Angeles pop, and at its biggest crescendo, it sounds a bit like the work of Gerry Goffin’s old collaborator Phil Spector.”
Modulations between C minor and C major are front and center in this track, nearly from start to finish. The first shift to C major (0:44) is accentuated by the addition of percussion to the instrumentation, while the first transition back to C minor (1:10) is ushered in with an odd-metered measure. At 2:32, a long, string-saturated instrumental outro cycles through multiple keys as multiple instruments take the lead on the now-familiar theme.
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Our thanks once again to the late Chris Larkosh, an energetic and consistent supporter of MotD. This submission is one of several he sent in over the years, even though we’re only now getting around to featuring it.
In observance of Independence Day in the US, today we feature Irving Berlin’s “God Bless America,” covered here by the Nashville-based a cappella Christian group Anthem Lights. The group, which includes Caleb Grimm, Chad Graham, Joey Stamper, and Spencer Kane, has released seven albums. This arrangement begins in A and modulates suddenly to B at 1:01.
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