Tag: USA

Bill Chase | Bochawa (feat. United States Marine Band)

“The U.S. Marine Band’s mission is to perform for the President of the United States and the Commandant of the Marine Corps,” (Marine Band website). “Founded in 1798 by an Act of Congress, the Marine Band is America’s oldest continuously active professional musical organization. President John Adams invited the Marine Band to make its White House debut on New Year’s Day, 1801, in the then-unfinished Executive Mansion. In March of that year, the band performed for Thomas Jefferson’s inauguration and it is believed that it has performed for every presidential inaugural since. In Jefferson, the band found its most visionary advocate. An accomplished musician himself, Jefferson recognized the unique relationship between the band and the Chief Executive and he is credited with giving the Marine Band its title, ‘The President’s Own.’”

“‘Bochawa’ was written by Bill Chase (1935–74); this version was arranged by Jackie Coleman,” (from the video description). “Chase was a trumpet player who graduated from the Berklee College of Music in Boston, where he studied with Herb Pomeroy and Armando Ghitalla. After graduation, Chase soon found himself working with Maynard Ferguson, where he remained for about a year before moving on to the Stan Kenton Orchestra. Chase finally settled into the lead trumpet chair in Woody Herman’s Thundering Herd. After leaving Herman’s band in August 1967, he moved to Las Vegas where he worked as a freelance musician and arranger. Around this time, The Beatles burst onto the scene, and his interest turned towards rock. As the 1970s began, Chase wanted to create his dream band comprised of four trumpets, four rhythm instruments, and one vocalist. Chase gained national attention after his group earned a Grammy nomination in 1971 for Best New Artist. ‘Bochawa’ comes from Chase’s third and final album, Pure Music.“

Splitting up into various smaller ensembles to perform for various events is a constant process for the Marine Band, including the jazz quintet heard here. Featuring the trumpet in the original spirit of Chase’s composition, the funk/rock track modulates up a whole step at 4:47.

New Kids on the Block | Please Don’t Go Girl

“This is the song that put New Kids on the Block on the map and got their career started in a big way,” (Songfacts). “This song was fronted by Joey McIntyre, who was the youngest member of the band. Ten years later, the song was covered by Aaron Carter, who was 11 years old at the time.

(The track) was written and produced by New Kids guru Maurice Starr, who not only controlled their business affairs, but also their music. Most of the ballads Starr wrote for the boy band find them singing directly to the girl, professing their love. Starr used a similar formula in his work with New Edition” a few years earlier. Both groups were Boston-based.

When Hangin’ Tough, NKOTB’s second album “came out in 1988 … the video for the single ‘Please Don’t Go Girl’ was released to BET and Starr focused on Black radio stations, where he had connections from his days with New Edition,” (Biography.com). “But then a Florida pop radio station started playing ‘Please Don’t Go Girl.’ The requests poured in, and plans for promoting the album shifted. New Kids on the Block had found the young girls who would make up their devoted fan base. After a tough beginning, they were on their way to stratospheric success.”

Along with New Edition, NKOTB and its hits like “Please Don’t Go Girl” set the template for subsequent boy bands NSYNC, the Backstreet Boys, and many others. The track features a textbook half-step key change at 2:44 as the bridge transitions into the chorus.

Climax | Precious and Few

Vocalist Sonny Geraci, a Cleveland native, didn’t become a household name in his own right, but he was at the helm of two very different but prominent pop hits with two different bands. “’Time Won’t Let Me,’ (The Outsiders), a frenetic dancefloor rocker … incorporated popular soul music elements and was consistent with the garage-band trend of the mid-’60s, (BestClassicBands). ‘Mersey meets Motown,’ was how Geraci once described it.”

Geraci “resurfaced in 1972 fronting the Los Angeles-based Climax … their ballad ‘Precious and Few’ became one of the biggest hits of that year, but they were only able to follow it with one more chart single, “Life and Breath,” which topped out at #52. Their first and only album, simply titled Climax, fizzled at #177 and the group disbanded in 1975.”

The power ballad pulls out all of the stops, featuring layers of orchestral instrumentation and extra backing vocals in addition to the sound of the band itself. Starting in A major, the track makes a stop in Bb major at 1:30, then drops a hearty rubato into the mix during the transition to B major at 1:59.

Marvin Gaye + Tammi Terrell | Your Precious Love

“Tammi Terrell and Marvin Gaye melded their melodious performative perfection for ‘Ain’t No Mountain High Enough’ like a pair of songbirds delivering a twittering Sunday service,” (FarOut). “The cover of the classic Ashford & Simpson track launched them as the soul-extolling duo about to give loving joy to a generation.”

Tragically, Terrell was diagnosed with a brain tumor when she was only in her early 20s, but kept performing for a time, releasing ‘Your Precious Love’ with Gaye in 1967. In 1970, “at the tender age of 24, Terrell passed away. At her eulogy, Gaye delivered one final performance of ‘You’re All I Need to Get By’. He later would comment: ‘I had such emotional experiences with Tammi and her subsequent death that I don’t imagine I’ll ever work with a girl again.'” Gaye went through a mourning period for Terrell during which he stopped performing altogether. However, he couldn’t have channeled his grief any more productively: his 1971 solo release, the legendary What’s Goin’ On, is touted by Rolling Stone as its #1 album of all time.

“Your Precious Love,” once again written by Ashford and Simpson, reached #5 on Billboard Pop Singles chart and #2 on the R&B Singles chart. Members of the Detroit Symphony Orchestra added dimension to the usual band instrumentation. After a start in Bb major, the short choruses lift into Db major first heard from 0:43 – 0:58) before reverting to the original key.

Talking Heads | And She Was

“According to David Byrne, who is the only writer credited on the track, this was written about a girl he knew who used to take LSD in a field next to the Yoo-Hoo drink factory in Baltimore,” (Songfacts). “‘Somehow that image seemed fitting, the junk food factory and this young girl tripping her brains out gazing at the sky,’ he told Q Magazine in 1992. ‘But it wasn’t a drugs song at all and I don’t think people took it that way. I think it gives the impression of a spiritual or emotional experience, instantaneous and unprovoked. The sublime can come out of the ridiculous.’ Talking Heads never performed this live: They stopped touring in 1984 after their Stop Making Sense concert film was released.”

The video was the first created by Jim Blashfield, who pioneered a collage-animation style with his short film, Suspicious Circumstances. That got the attention of Talking Heads, which wanted a similar motif for their ‘And She Was’ video. The resulting clip earned MTV Video Music Award nominations for Best Group Video and Best Concept Video. Blashfield was commissioned for more videos in this style; his work can be seen in ‘The Boy in the Bubble’ (Paul Simon) (and) ‘Sowing the Seeds of Love’ (Tears For Fears).”

After a start in E major, the pre-chorus shifts into F major (0:29 – 0:44) before a return to E major for the chorus. The bridge (1:53 – 2:08) drops into B minor before returning to the overall pattern.

The Cyrkle | Red Rubber Ball

The Cyrkle was a pop band that met as college students at Lafayette College in Easton, Pennsylvania in the mid-1960s. Their business manager was Brian Epstein who, of course, also managed the Beatles; the affected spelling of their name was suggested by John Lennon. The group had the opportunity to open for the Beatles for some of their 1966 US tour dates.

“Red Rubber Ball” was their first and biggest hit (Billboard #2 in 1966). The song was written by Paul Simon and Bruce Woodley of the Australian group The Seekers. Simon offered the song to the group during the time they opened for Simon and Garfunkel on tour.

There are several other notable recordings of the song. The Seekers recorded their own version of the song in 1966. Simon and Garfunkel performed the song at Lincoln Center in 1967, the recording of which was released in 1997. The most notorious cover of the song comes from the Canadian punk group The Diodes. In an interview, Paul Simon had made disparaging comments about punk rock, so The Diodes took that as an invitation to record their punk cover.

While none of these covers features a key change, The Cyrkle’s version offers a half-step modulation at 1:21.

BYU Noteworthy | Proud Mary

“Proud Mary,” written by John Fogerty and originally recorded by the American rock band Creedence Clearwater Revival, was covered by Ike and Tina Turner in 1971 for their album Workin’ Together. Tina also later recorded a solo version, and frequently performed the song live. Turner died today at age 83.

BYU Noteworthy is a female a cappella group affiliated with Brigham Young University. They have released 7 albums and regularly perform across the country. Their arrangement begins in Eb and modulates up half step to E at 2:15.

Michael Bublé | Save the Last Dance For Me

The Ben E. King-era Drifters scored a Billboard #1 in 1960 with their version of “Save The Last Dance For Me,” written by Doc Pomus and Mort Schuman. In that recording, the most prominent instruments are the steady guitar, bass, and light percussion, with a brief string interlude. There’s no modulation on offer.

In 2005, singer Michael Bublé released his version of the song in his album It’s Time. Later that year, he offered several remixes by different producers, for a single release, including the music video below. The tempo is slower than in the Drifters’ version, but with a spicier, syncopated arrangement of prominent Latin-style percussion (claves and timbales!), piano, and horns.

For dramatic purposes in the video, the music comes to a halt at 1:41. The music resumes at 1:44 a half-step up.

Brenna Whitaker | Black and Gold

Brenna Whitaker, an L.A.-based vocalist, released her eponymous debut album in 2015, which features “Black and Gold” as the lead track. Whitaker counts Peggy Lee and Etta James among her influences, and her voice caught the attention of David Foster, who helped her develop her sound and produced her record.

Black and Gold, originally written and recorded in 2008 by Sam Sparro and Jesse Rogg, was a top-20 hit across Europe and was nominated for Best Dance Recording at the Grammy Awards. Whitaker’s cover begins in C minor and shifts up a half step to C# at 3:33.

Nate Wood | Become

“Grammy nominated Nate Wood is a drummer/multi-instrumentalist and mastering engineer based in New York City,” (NateWoodMusic.net). “Nate is a founding member of the Grammy nominated quintet Kneebody, Kneebody released their self-titled debut album in 2005 on trumpeter Dave Douglas’s label Greenleaf Music. In 2007, Kneebody released Low Electrical Worker on Colortone Media. They completed an album of arrangements of Charles Ives compositions with singer Theo Bleckmann and released the recording 12 Songs of Charles Ives, which was nominated “Best Classical Crossover Album” Grammy Award (2009).

Nate has also performed or recorded with many notable artists including … Dave Grohl, Brian May and Roger Taylor (Queen), Chris Squire (Yes), Elliot Easton (The Cars), Chaka Khan, Wayne Krantz, Billy Childs, Tigran Hamasyan, Donny McCaslin, Sting, and many others. Nate was featured in Modern Drummer in March of 2014 and placed in the 2015 Modern Drummer reader’s poll among the top 5 drummers in the fusion category.” He’s since released four of his own albums “and masters records for artists from around the world.”

“Become,” from Wood’s debut solo album Reliving (2003), moves like clockwork through its first two groove-driven verses and choruses. Then 2:10 brings a soft-spoken bridge which pivots down a whole step to Ab major (2:32) as the groove returns and a guitar solo begins. At 2:45, there’s another shift to B major, but at 2:57, we drop back into the slot of the original key as the solo continues to build in advance of the vocal’s return. Wordless vocals and a huge syncopated kick on the fifth degree of the scale bring the tune to its conclusion.