The American Breed | Bend Me, Shape Me

“Bend Me, Shape Me,” was originally recorded in 1966 by The Outsiders, who were known for their hit “Time Won’t Let Me.” The tune was written by songwriters Scott English and Larry Weiss, who later wrote “Rhinestone Cowboy,” made famous by Glen Campbell. In 1968, a band called Amen Corner took the tune to #3 in the UK (Songfacts). But in 1967, The American Breed took the definitive version of the song to #5 on the US pop charts and #24 in the UK.

The American Breed’s big break was quite unusual: “On January 20, 1967, a freak snow storm that dumped twenty inches on Chicago changed the fate of Gary & The Knight Lites,” (the band’s initial name) … “when Kenny Myers, former Senior Vice President of Mercury Records, found himself stranded and met with producer Bill Traut in his studio at Universal Recording. After Traut played Meyers some of the band’s tapes, Meyers was impressed enough to sign them to his new record label … and suggested they change their name. ‘They told us Gary and the Knight Lites sounded a little dated, so we put a bunch of names in a hat and pulled out American Breed.’ The band’s first single was ‘I Don’t Think You Know Me,’ written by Carole King and Gerry Goffin.” (Billboard).

Two of the four members of American Breed that played on “Bend Me,
Shape Me” — bassist Chuck Colbert and drummer Lee Graziano — formed a new group, which included newer AB members not on that hit, keyboardist
Kevin Murphy and singer Paulette Williams. That new group became “Ask
Rufus”. Eventually, AB guitarist Al Ciner joined. Three of the original four AB members were in Rufus, though only guitarist Al Ciner stayed through that group’s fame with vocalist Chaka Khan.

Key changes are the main ingredients here. The tune starts in C minor; the pre-chorus (0:27) shifts to A minor; finally, the chorus (0:41) is in A mixolydian. After a percussion break, the cycle repeats.

The Trolley Song (from “Meet Me In St. Louis”)

1944’s Meet Me in St Louis “was the first truly great movie from the Freed unit, the MGM department specializing in musicals and headed since 1940 by Arthur Freed, who wrote some of the best songs of the 1920s and 30s and produced several of the finest films of the 20th century,” (Guardian).

Freed … told studio boss Louis B Mayer: ‘I want to make this into the most delightful piece of Americana ever.’ He achieved his aim with a movie that defines perfection, as it captures the spirit of hope and anxiety that informed the last years of the second world war, when it was made … Judy Garland has never been more spirited or more poignant (‘Have Yourself a Merry Little Christmas’ is up there with ‘Over the Rainbow’ and ‘The Man That Got Away’).” Much of the plot turns on whether the lead character’s family will move to New York City. “When fellow MGM executives demanded to know the source of the film’s dramatic conflict, Freed replied: ‘Where is the villain? Well, the villain is New York!'”

The chorus initially states the melody in the opening in A major, followed by a delayed intro from Garland at 1:24 and a first verse at 1:55. At 2:59, there’s a shift to C# before 3:14 reverts to A major.

Bill Champlin | I Don’t Want You Anymore

Bill Champlin, perhaps best known for his membership in the band Chicago during the 1980s and 1990s, earlier served as “lead singer, primary songwriter, keyboard player, rhythm guitarist, and occasional saxophonist in the Bay Area band the Sons of Champlin from 1965 to 1977, shepherding the middle-level San Francisco rock group through seven modestly selling albums,” (AllMusic). “In August 1977, he quit the band that bore his name and moved to Los Angeles, where he became a busy session singer. Not surprisingly, that soon led to his own solo recording contract and his debut album, Single … Champlin had hooked up with producer David Foster to write and record a collection of love songs very much in the mold of Boz Scaggs’ blue-eyed soul blockbuster Silk Degrees.”

The review goes on to describe the album as “sleek — and sometimes slick — ’70s white R&B, as played by a cast of Los Angeles studio pros including all six of the future members of Toto.” Backing vocalists included blue-eyed soul A-listers Michael McDonald and Daryl Hall. “At the center of it all is Champlin, whose soulful, rhythmic voice ranges from a tender tenor to a gruff baritone, sometimes in the same line … This is an album concerned with style, not substance, and it is a state-of-the-art example of studio craft, circa 1978. So, why didn’t anybody buy it? Probably because it went almost completely unpromoted …”

Between a hyperkinetic rhythm section, multi-layered and intensely syncopated backing vocals, intermittent assists from shimmering synths, and yes, plenty of emphatic cowbell, the full chart for the funk-driven uptempo pop tune “I Don’t Want You Anymore” might rival an orchestral score. Although the lyrics are a bit of a downer, the yacht rock quotient is otherwise strong here! After a short instrumental break (2:44), the tune shifts up a whole step at 2:54.

Regina Belle | Away In A Manger

Grammy-winning singer/songwriter Regina Belle released her first Christmas album, My Colorful Christmas, last month.

Discussing the album’s genesis, Belle said, “This Christmas record, My Colorful Christmas, will be my greatest of Christmas gifts this year and for many years to come. It was always an idea of my brother (Bernard Belle) that we should do one together, and now it’s complete. Two of my daughters are singing (Sydni and Nyla), my son’s on drums (Jayln), one of my brother’s best friends (Ronald Scruggs) and my niece (Janah Belle) are singing backgrounds, and my nephew (Jahmel Belle) is producing and playing drums as well. Bernie, this one’s for you!” Her brother Bernie passed away while the album was being recorded.

Belle’s arrangement of this standard is full of inventive reharmonization in addition its two modulations: from the home key of C up to Db at 0:43, and up another half step to D at 1:26.

Pentatonix (ft. Lea Salonga) | Christmas In Our Hearts

MotD mainstay Pentatonix released their sixth holiday album in October, Holidays Around the World. The record is a collaborative effort celebrating songs from different cultures around the world. “Christmas In Our Hearts,” written and originally recorded by Filipino singer/TV host/songwriter Jose Mari Chan, features Filipino singer and actress Lea Salonga. The track modulates up a half step from F to Gb at 2:43.

Brett Eldredge | O Come All Ye Faithful

This is the final track on American country singer Brett Eldredge’s 2021 holiday album Mr. Christmas. Entertaintment Focus critic Pip Ellwood-Hughes wrote that Eldredge is “making a convincing case to be mentioned in the same breath as Michael Bublé and Mariah Carey when it comes to Christmas music” in his review of the album. “Closing track ‘O Come All Ye Faithful’ is another standout with Eldredge stripping things back so his voice steals all of the spotlight – and good lord what a voice he has,” Ellwood-Hughes continued.

There is a whole step modulation from F up to G at 2:35.

Jingle Bell Rock (from “Glee”)

Surprisingly, this is our first time featuring the classic “Jingle Bell Rock,” originally recorded in 1957 by Bobby Helms. There is some controversy over who wrote the tune; Helms claims that he, not Joseph Carleton Beal and James Ross Boothe, who are recognized as the composers, deserves credit. Alas, all three are dead now, so we will never know. This cover was performed on the television show Glee, and modulates from D to Eb at 0:57.

Thanks to MotD regular Ziyad for this submission!

Lincoln Brewster | Miraculum

“Miraculum,” an arrangement of We Three Kings, is featured on Christian pastor and musician Lincoln Brewster’s 2012 Christmas album Joy To The World. It is the only instrumental track on the record, which reached #6 on the Christian Albums Billboard chart.

The tune begins in Eb minor and glides into Ab minor during the more subdued middle section at 3:15. A sudden return to Eb minor occurs at 4:52

Thanks to MotD contributor Peter McCutcheon for this submission.

Joel Waggoner & Julia Mattison | Stable Girl

“Stable Girl” is featured in Joel & Julia‘s Haunted Holiday Singalong, a variety special which premieres and is available on-demand online tomorrow. “They’ve been awoken from permanent sleep by Santa and they’ve found themselves in a cabin owned by the Christmas Witch,” says the website describing the show. “They find out that the Christmas Witch’s clams have lost their dingle bongle (aka. Christmas Spirit) and they set out on a musical journey to help them get their dingle bongle back.”

The track begins in Ab and modulates up a half step to A at 2:47. Thanks to long-time MotD fan and first-time contributor Leah Pye for this find!

Jim Brickman & Matt Doyle | When It Snows

Grammy-nominated and songwriter pianist Jim Brick released a new holiday collection titled A Very Merry Christmas in October, and is currently on a nationwide tour performing selection from the album. “When It Snows,” featuring vocalist Matt Doyle is the opening track; it begins in G and dramatically modulates up a third to B at 2:51.