“I’ve Learned To Let Things Go,” with music and lyrics by John Bucchino, was included in It’s Only Life, a concert revue of Bucchino’s music that was performed at Lincoln Center in 2006. It is performed here by cast member Jessica Molaskey, and modulates from A up to C at 2:25.
Tag: USA
Dane Vannatter | The Best Part of Me
Cleveland-based cabaret vocalist Dane Vannatter “is the recipient of two BackStage Bistro Awards, for Outstanding Vocalist and for his second CD Flight,” (The Music Settlement). “The Boston Globe acclaims Dane for ‘ … a style that blends facets of cabaret and jazz with intelligence and care, and a distinctive style that leaves an imprint on whatever music he sings.’
In Boston, Dane sang “God Bless America” for Fenway Park’s 100th anniversary before a record crowd of 40,000. Dane is a nominee for four MAC awards and is a Nightlife Award finalist … (he) performs regularly in venues in Pittsburgh, Cleveland, Boston, and Cape Cod. Dane’s fourth CD Give Me Something Real was released in 2016 to much critical acclaim. Dane is currently working on a holiday CD It’s December with legendary guitarist Joe Negri.”
Released in 2020, “The Best Part of Me” gives Vannatter an opportunity to work with a pop ballad sound — one with a rich harmonic vocabulary. With music written by Alex Rybeck and lyrics by Bob Levy, the track features Daniel May on piano. After two verses in F major, 1:22 brings a bridge featuring a fluid key change to D major; at 1:54, the tune reverts to its original key.
for Todd
Lene Lovich | Blue Hotel
Lene Lovich, born Lili-Marlene Premilovich, “is an American singer, songwriter, and musician of Serbian and English descent based in England,” (Sputnik Music). “Back in the autumn of 1978, when Stiff Records mounted its second major assault on the British music biz, Lovich stood out … with her outlandish dress, colourful coiffure and mannered, theatrical delivery, using her voice no differently than the sax she occasionally tooted,” (StevePafford.com) … (She was a) one time sculpture student at London’s Central School of Art … Lene’s leftfield output was at the perfect foundational example of the burgeoning New Wave. An amalgam of baroque and Euro-cabaret, her slightly pixilated pop arrangements laced with splashes of synthesizer and organ …
… What at the time seemed a bit outre, even gauche was, by the early Eighties, adopted whole or in part by rafts of aspiring bands. Where once Lovich was likened to Patti Smith for lack of even vaguely comparable new wave female singers, she now had her own ‘school’ of followers – although many people have no idea she was there first.”
Following on a cover of “I Think We’re Alone Now” (1978), “Lucky Number”
(1978), and the Thomas Dolby-penned “New Toy” (1981), “Blue Hotel” was released in 1983 on Lovich’s album No Man’s Land. The video for the track was certainly not among those with the highest production values, but joins “New Toy” as a high point of the New Wave while capturing much of early-80s music video’s visual aesthetic. After a brief intro (and a hearty greeting to all) in A major, the tune shifts into A minor for the first verse; an A major interlude echoing the intro follows from 2:03 – 2:16); and a triumphant whole-step modulation up to B major hits at 2:40. At 3:30, the outro finds Lovich yodeling adroitly and proudly, as one does. No need to file a flight plan; Lene was there first, and knows the way.
for Maureen
David Crosby + Graham Nash | Guinnevere
“David Crosby, a founding member of iconic 1960s rock bands the Byrds and Crosby, Stills, Nash & Young and one of the most celebrated musicians of his generation, has died at the age of 81,” (Spin). A tribute on Facebook from Graham Nash: ” … what has always mattered to David and me more than anything was the pure joy of the music we created together, the sound we discovered with one another, and the deep friendship we shared over all these many long years. David was fearless in life and in music. He leaves behind a tremendous void as far as sheer personality and talent in this world. He spoke his mind, his heart, and his passion through his beautiful music and leaves an incredible legacy. These are the things that matter most … “
“The early 1970s BBC series In Concert featured some of the greatest performers of the folk rock / singer-songwriter era, including Joni Mitchell, Carole King, James Taylor, Cat Stevens and Neil Young in front of intimate crowds at the old BBC Television Centre in London,” (Dangerous Minds). In the case of each of the artists featured, the BBC sets are probably the very best records we have of these performers in their youthful prime. This is almost certainly the case with the gorgeous Crosby & Nash performance linked here. It’s a stunner.
After the success of their monstrously popular Déjà Vu album, Crosby, Stills, Nash & Young,“the American Beatles” as they were often called (never mind that one was a Brit and another Canadian) broke up in the summer of 1970, with all four members of CSNY recording solo albums. Crosby’s If I Could Only Remember My Name and Nash’s Songs for Beginners appeared the following year. In the fall of 1970, the two toured as an acoustic duo previewing tunes from their upcoming albums and singing fan favorites.”
Written in E minor overall, there are several short passages in G minor (for instance, 1:59 – 2:07).
Stacie Orrico | (There’s Gotta Be) More to Life
Contemporary Christian music (CCM) artist Stacie Orrico released “her 2000 debut album, Genuine, is a combination of Christian pop with an urban flare and has been compared stylistically to both Christina Aguilera and Lauryn Hill.” (AllMusic) She has worked with noted CCM artist Michael W. Smith as a producer and served as an opening act for Destiny’s Child. After the pace of the music business led her to take a break and get a restaurant job, she returned in 2007 to release another album.
Orrico’s 2003 single “(There’s Gotta Be) More to Life” is “an inspirational mid-tempo number with the chorus ‘There’s gotta be more to life than chasing down every temporary high to satisfy me,’ (MTV). ‘I think so many times we feel like we’re lacking something in our lives and we try to fill it with the wrong things,’ she explained. ‘Sometimes it’s drugs, sometimes it’s a relationship you shouldn’t be in.'”
Orrico clearly demonstrates the same pop sensibilities of Britney Spears and Christina Aguilera, who are her contemporaries. After a start in F minor, the tune shifts up a half-step at 2:03. Many thanks to our regular contributor Ziyad for this submission!
Blitzen Trapper | Don’t Let Me Run
“It has been a challenge keeping up with Portland, Oregon’s Blitzen Trapper over the past two decades,” (American Songwriter). “From their indie rock beginnings through a catalog that includes twisted folk, laid-back West Coast vibes, art-pop, country-tinged sounds, a rock opera and even a children’s album — all with a handful of label changes thrown in — it has been a head-spinning yet never boring ride.” Their album Holy Smokes Future Jokes was released in 2020.
Contributor Galen C., who unearthed this track for us, adds: “Blitzen Trapper has blended genres like rock, folk, blues, country, and psychedelia. Their genre bending is on full display with this song, ‘Don’t Let Me Run,’ which takes the listener for a spin as the song switches style and key from folk-rock to a slight jazz vibe.
At 2:00 the song switches from F major to A# minor for a few seconds; around 2:06 the key changes to G# minor; finally, at 2:11, there’s another shift to E minor, where it remains for the rest of the song.”
The Beach Boys | ‘Til I Die
‘Til I Die” from The Beach Boys’ 1971 album Surf’s Up was “one of the only songs written by Brian (Wilson) for which he wrote the lyrics as well the music, (American Songwriter). “Usually other lyricists, such as Mike Love, Van Dyke Parks and Tony Asher, wrote the words to his songs. This one was inspired by Brian’s confrontation with the immensity of the universe. ‘The ocean was so incredibly vast,’ Brian said, ‘the universe was so large, and suddenly I saw myself in proportion to that, a little pebble of sand, a jellyfish floating on top of the water; traveling with the current I felt dwarfed, temporary. The next day I began writing Til I Die, perhaps the most personal song I ever wrote for The Beach Boys.’
Don Was, (the noted producer), said that Brian told him the chords for the song were created by the way they looked geometrically. ‘He essentially created this masterpiece by contorting his fingers into really groovy shapes (on the piano),’ said Was.”
“‘Til I Die’ is the most personal and revealing track he ever wrote, depicting the troubled young songwriter as … an isolated, helplessly adrift person who will be at the mercy of others ‘until I die,” (Sputnik Music). “Surf’s Up represents desolation and despair, not visceral in nature, but rather submissive to fate and the hell it will bring. Anyone with a basic knowledge of Beach Boys history can connect the dots regarding what this album is representing: the woes of Brian Wilson as his struggles with addiction and depression spiraled to some of their lowest points.”
Dropping right into the first verse without so much as a note of introduction, the tune shifts tonality often, meandering among several keys but never quite finding a home in any of them. At 1:40, a prominent repeating bass vocal part finally provides some grounding for the outro, which is an extended one given the tune’s overall length of only 2:33.
The Brothers Johnson | Stomp
The Brothers Johnson release Light Up the Night “was the album that Quincy Jones produced in late 1979 soon after helming Michael Jackson’s Off the Wall,” (BBC Music). Light Up the Night was a real UK soul radio favourite at the turn of the 80s, as it was another window into bright, shiny Californian sunshine amid the grimness of the early part of that decade. However, (it’s) all really about its lead single, ‘Stomp,’ a truly irresistible piece of post-disco groove. It is as good as the best of anything by their peers, Chic, Earth, Wind & Fire, and Rufus. Its killer chorus, well-arranged strings and bass breakdown from Louis Johnson make it one of perennial sounds of a Saturday night.
It was a US R&B #1 and reached #6 in the UK in March 1980 … The Brothers made some more decent albums before splitting in 1982. While Louis Johnson played bass on Thriller (it’s him on ‘Billie Jean’), George played guitar for Steve Arrington; Alex Weir, meanwhile, joined Talking Heads. The Brothers Johnson now reform periodically, but nothing comes close to the glory of this album. The sound of a fun, fertile time is truly captured here.”
The verse, which sounds for all the world like a an extremely funky study of major and minor thirds, starts in G minor; then the pre-chorus, first heard at 0:37, shifts to E minor before that “killer chorus” kicks in at 0:50 with a return to the original key.
Eileen Ivers | Pachelbel’s Frolics
“Eileen Ivers will change the way you think about the violin,” (CapeSymphony.org). “It is a rare and select grade of spectacular artists whose work is so boldly imaginative and clearly virtuosic that it alters the medium. GRAMMY-winning Celtic fiddler Eileen is a nine-time All-Ireland Fiddle Champion and original musical star of Riverdance. The daughter of Irish immigrants, Eileen has played with the London Symphony Orchestra, Sting, and The Chieftains; performed for presidents and royalty; and is hailed as one of the great innovators and pioneers in the Celtic and World music genres. Her recording credits include over 80 contemporary and traditional albums and numerous movie scores, including Martin Scorsese’s Gangs of New York. Billboard magazine called Eileen a ‘sensation’ and The New York Times called her ‘the Jimi Hendrix of the violin.'”
Ivers’ 2021 track “Pachelbel’s Frolics” is based on Johann Pachelbel’s “Canon in D” (written somewhere between 1680 and 1706). The Canon has since become nothing short of omnipresent, gaining fame for its composer as something of a classical music one hit wonder. But by now the Canon, a victim of its own success, is certainly near the top of many “needs a refresh” lists: “Since the 1970s, the Canon has been played at innumerable weddings, and quite a few funerals … been called upon to underscore: a tribute to baseball hero Ted Williams at Boston’s Fenway Park (2002); a tenth anniversary commemoration of the 1992 Los Angeles Riots … (2002); a renewal of vows at a Grand Forks, ND old-age home where the harpist was over 90 and the cumulative years married totaled 735 (2006); and … a yearly ceremony in which medical students at the University of Minnesota paid final respects to the cadavers they had lately finished dissecting in first-year gross anatomy class (1997).” (Prisoners of Pachelbel: An Essay in Post-Canonic Musicology, Robert Fink).
Ivers provides a refreshing renovation to the Canon by including some well-trodden ground while also welcoming sprightly new melodic ideas, tempo changes, and a wide-ranging tour of various fiddle styles into the vocabulary. An even larger departure is the modulation to the parallel minor from 2:21 – 3:10.
Garbage | I’m Only Happy When It Rains
“Garbage are an iconic, eclectic band that is anything but what their name implies,” (Consequence). “With the music scene awash in a sea of grunge {in the ’90s], Garbage went a different way — and to great effect. This all-star band — with world class producer Bruce ‘Butch’ Vig (Nirvana) at the production helm — has released hit after dynamic hit with an infectious pop sound that belied frequently dark lyrics. They’ve scored a number of Top 10 hits and were even chosen to record a James Bond theme.
Fronting the outfit is the charismatic and irrepressible Shirley Manson from Edinburgh, Scotland. Manson first met up with her three future [American} bandmates in Wisconsin … their self-titled debut came the iconic hit ‘Only Happy When It Rains” (1995) [is] a record that feels as fresh today as it did nearly 30 years ago.”
Starting in G# minor, the track shifts at 0:41 into a chorus that seems a bit off-kilter. On closer inspection, it’s built completely from major chords and (colorless) power chords: C#, G#, A, and B, touching on F# before moving on to the next verse.
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