“I Hope You Dance,” written by Mark D. Sanders and Tia Sillers, was originally recorded by American country singer Lee Ann Womack as the title track for her 2000 studio album. The song, which won the Grammy award (and many others) for Best Country song, became Womack’s signature hit and has sold over 2 million copies in the US.
American singer/songwriter Gladys Knight covered the tune for her 2013 album Another Journey. After beginning in G, Knight modulates up a whole step to A at 3:08.
In the early 1960s, Connie Stevens was a superstar, playing
photographer and nightclub singer Cricket Blake on the TV series
“Hawaiian Eye” and scoring on the pop charts with songs like “Sixteen
Reasons.” Later on, she worked as an actual nightclub singer in Las
Vegas, and continued to work in TV and film well into the 2000s. In
the early 1970s, she recorded some sides with famed producer Thom
Bell, making the first version of “Betcha By Golly Wow” (released
under the more sensible title “Keep Growing Strong”), and covering the
Delfonics hit “La La Means I Love You” (which Bell had co-produced).
The country classic “Hey, Good Lookin'”, was the lead track on her 1962 Warner Bros. album, The Hank Williams Songbook. The big band arrangement chugs along merrily in G major until a cute, unexpected, just under-the-wire modulation to Ab major at 1:44 during the end tag/turnaround.
Olivia Newton-John, a winner of four Grammy awards and an artist who sold upwards of 100 million albums worldwide, passed away today after a multi-year battle with cancer. We’re featuring a tune from one of the many high points of her multi-faceted career.
“Longtime Olivia Newton-John associate John Farrar composed ‘Suddenly’ for the soundtrack to the movie Xanadu in 1980,” (AllMusic). “Recorded in Los Angeles in March 1980, a somewhat slight ballad was transformed into a genuinely heartfelt duet between the Australian and Cliff Richard, with whom she had enjoyed a decade-long association as friend and occasional co-performer (she was a regular guest on his early-’70s TV series). ‘We do have a good relationship and I think it really comes across in the song,’ Richard mused. Indeed, released as Richard’s 79th British single, ‘Suddenly’ reached number 15 in that country, despite the general failure of the accompanying movie. It also became Richard’s fourth U.S. Top 40 hit in a year, when it reached number 20 in October 1980.”
Newton-John was always more than just a pretty face; the same could be said for her UK duet partner! Richard was a massive star in the UK by 1980s, but was beginning to catch on in the US market as well — with plenty of boyish pop cred belying his age (40 vs. Newton-John’s 32). “Suddenly” was a central part of the Xanadu soundtrack, but on the eve of MTV’s appearance in 1981, a promotional video featuring both singers was called for, rather than footage from the fanciful rollerskating-centric movie. If the US Top 40 somehow had a baby with the visual aesthetic of TV soap opera General Hospital, one of the largest media blockbusters of the era, this video would have been the result (move over, Luke ‘n’ Laura … Cliff and Olivia are super cute and have pipes!) The chemistry here might not have been entirely the result of acting: upon her death, Richard said of Newton-John: “‘We hit it off straight away. She was the sort of soulmate that you meet and you know is a friend for life. When I and many of us were in love with Olivia, she was engaged to someone else. I’m afraid I lost the chance,'” (Daily Mail).
After a somewhat aimlessly wandering intro (OMG, we have synths now! Let’s use them a lot!), Richard’s half of the verse begins in Ab major (0:16) but ends in B major; Newton-John’s half begins in Bb major (0:35) but effortlessly glissades into the Eb chorus (0:53). Lots of pivots continue from there.
“Natalie Cole bloomed into a superstar with her debut single, ‘This Will Be,’ released in 1975 when she was 25 years old.” (JazzIz) With its funky, soulful sound, the song helped her step out of the shadow of her father, Nat ‘King’ Cole, one of the most iconic vocalists of the 20th century. Since its release, it has also been featured in several movies and was used in a long-running series of eHarmony commercials.
‘This Will Be’ was written and produced by Chuck Jackson and Marvin Yancy. It became a Billboard hit and earned Natalie a couple of GRAMMYs, including that for Best Female R&B Vocal Performance, a category that had been dominated by Aretha Franklin up to that point. As mentioned, it also turned Cole into a major star and her popularity continued to soar through the ’70s. While drug issues would slow her down, she would launch a comeback that peaked with her 1991 album, Unforgettable … with Love.”
The track has a unique layout which doesn’t adhere to traditional songwriting structure; there doesn’t appear to be a chorus! After starting in Bb major with an extremely long groove-driven intro for a tune that clocks in at less than three minutes total, two verses unspool as Natalie sings an impeccable duet with herself. As the third verse begins, there’s a transition up to Db major at 1:02. Each verse has a different overlay of vocal melody, but the underlying chords are the same. A stop-time bridge appears at 1:29. The intensity ramps up right to the end; even as the volume fades, Cole unfurls more and more of her powerhouse upper range belt. The swing momentum, effortless vocal prowess, and the sheer joy she communicates through her performance are reminders of the Cole family’s jazz and pop legacy, which started in 1940.
Louden Swain is an LA-based indie rock band that formed in 1997. The group has released 9 albums, and when their anticipated 2020 release was delayed by the pandemic, they decided to release one new single each month until they could get back on the road and support the creation of a full album.
“Present Time” is the lead track on the 2017 album No Time Like The Present. It begins in Eb and modulates up to F at 2:22.
In 1979, British-American singer-songwriter Rupert Holmes had a hit with “Escape (The Piña Colada song),” a Billboard #1, and a top song of the ’70s. But a decade earlier, he was working as a session musician on a planned release by the Cuff Links, a pop band with sugary hits like 1969’s “Tracy”. The Cuff Links’ singer was Ron Dante, also the voice of The Archies. Due to contractual restrictions, Dante was pulled from the project; Holmes released one of the tracks they’d been working on, 1970’s “Jennifer Tompkins,” under the name “The Street People.” That release made it to #36 on Billboard‘s Hot 100.
The lyrics tell the hard-luck tale of the song’s eponymous subject, offering an odd contrast with the sprightly musical track. Despite a running time of only 1:50, the song packs a satisfying series of modulations. The first half-step mod comes at 0:34. There’s a whole step mod at 1:18, followed by half-steps at 1:26, 1:34, and at 1:42 during the fade out.
“Love Don’t A Reason” was written by Michael Callen, Peter Allen, and Marsha Malamet, and first performed at an AIDS Walk in New York City in 1987. Each of the composers subsequently recorded it for their own albums, and the song was also included in the 1998 musical The Boy From Oz. Callen’s cover, from his 1988 debut album Purple Heart, is featured here. The track begins in E and modulates up a whole step to F# at 2:43.
The inclusion of Kate Bush’s distinctive mid-80s track “Running Up That Hill” in the streaming video hit Stranger Things might be the most prominent digital-age revival of a decades-old song — but it was hardly the first. “Proving that essentially all of pop history is now fair game for a TikTok revival, one of the biggest-growing streaming hits of 2022 now belongs to Nixon-era one-hit wonder Edison Lighthouse, with their bubblegum smash ‘Love Grows (Where My Rosemary Goes),'” (Billboard) … “The song, which reached #5 on the Billboard Hot 100 in March 1970, has seen an explosion in its streaming consumption after the song started getting adapted into a TikTok meme of users posting clips and photos of themselves to accompany the song’s lyrics … ” Streams were up by 1,490% and the song also moved onto Spotify’s daily US top 200 chart, just outside the top 100.
“’Love Grows’ marked one of just two Hot 100 appearances for the British pop/rock quartet Edison Lighthouse — the other coming in early 1971 with the No. 72-peaking ‘It’s Up to You Petula.’ The group’s frontman, Tony Burrows, was perhaps the most prolific bubblegum singer of his era,” scoring hits under his own name as well as an anonymous vocalist for the groups White Plains, Brotherhood of Man (‘United We Stand,’ 1970), The Pipkins, and First Class (“Beach Baby,” 1974). “He also provided backing vocals on a pair of early Elton John classics ‘Levon’ and ‘Tiny Dancer.'”
The track shifts up a half-step at 1:57.
In spring 2020, jazz pianist Brad Mehldau released a suite of tunes inspired by the opening months of the COVID-19 crisis. “Locked down in the Netherlands, (he) decided to compose a 12-part cycle that reflects his response to our new normal,” (Downbeat). “Don’t come looking for Mehldau’s long, lustrous improvisations—or even short ones, though there might be some light embellishments here and there. This is a composer’s work. If its bite-size pieces are easily digestible, so are its penetrating melodies. Like the thinned-out harmonies, they emphasize the isolation at the heart of both the work and the context. Well, that and the pure strangeness … Billy Joel’s “New York State Of Mind” and Jerome Kern’s “Look For The Silver Lining” find new reservoirs of heartbreak.”
On his Bandcamp page, Mehldau released these liner notes for the Suite: ” … a musical snapshot of life the last month in the world in which we’ve all found ourselves. I’ve tried to portray on the piano some experiences and feelings that are both new and common to many of us. I’ve pointed to some of the strong feelings that have arisen the past month or more … a bittersweet gut pain that has hit me several times out of the blue when I think back on how things were even just a few months ago, and how long ago and for away that seems now … Billy Joel’s ‘New York State of Mind,’ a song I’ve loved since I was nine years old, is a love letter to a city that I’ve called home for years and that I’m away from now. I know lots of people there and miss them terribly and I know how much that great city hurts right now.”
Like Joel’s original, Mehldau’s cover grows most sentimental during its softly stated middle section. Although the tune is in C major overall, the midsection (1:10 – 1:43) is a parade of ii-V progressions through multiple keys whose eventual destination is back home to the original key. During the piece’s closing bars, a distant echo of the iconic main theme of Gershwin’s “Rhapsody in Blue” somehow boosts the NYC quotient even further.
Michael Lucke’s wonderful transcription of Mehldau’s solo is featured on this video.
“Lost In Your Eyes” is featured on American singer Debbie Gibson’s second studio album, Electric Youth, released in 1989. The song, which Gibson wrote and produced, was her most successful single and sat atop the Billboard Hot 100 chart for three weeks. Writing for the former British music newspaper Record Mirror, critic Betty Page said, “Golden larynxed Debs hits us with the big moodsome ballad, proving that she’s shaping up to be the Barry Manilow of the Nineties.”
The track begins in C and modulates to D at 2:14.
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