One of the best-known disco classics of all time, “Turn The Beat Around” was written by Gerald and Peter Jackson and featured on Vicki Sue Robinson’s debut album Never Gonna Let You Go, released in 1976. The song, which held the number one spot on the disco chart for a month, was Robinson’s only hit, and won her a Grammy nomination for Best Female Pop Vocal Performance. Gloria Estefan recorded a very similar cover in 1994, and both versions have been used in numerous movies and TV shows.
The track modulates up a half step, from F# minor to G minor, at 2:48.
Kai Christensen of Earsense.orgdescribes the context for Beethoven’s String Quartet, Opus 18 #4: “Beethoven worked painstakingly for two years to produce his first string quartets, Op. 18, published in 1801 in the fashion of the time as a set of six. Pre-dating them are the complete string quartets of both Haydn and Mozart, Haydn having written his last two complete quartets in the same years, finishing in 1799. Just as later composers were daunted by the supreme achievements of Beethoven before them, so Beethoven was acutely aware of the rich legacy of quartet literature already preceding him.”
“String quartet: A composition for solo string instruments, usually two violins, viola, and cello; it is widely regarded as the supreme form of chamber music. (Grove Music Online). That’s the textbook definition. Beethoven inherited the string-quartet tradition from his predecessors and shaped it into something unsurpassed in virtuosity, invention, and expressiveness. The definition could well read, ‘Beethoven’s quartets are widely regarded as the supreme form of chamber music.’ He wrote 16 string quartets, and they reveal his evolution as a composer and a man. It’s all there: earthy wit (yes, Beethoven could crack a joke), volatile temper (his fury was state of the art), and personal sorrow (he had plenty to weep about).”
One of several modulations in this movement alone, there is an emphatic shift from Eb major (complete with a plagal cadence at 2:11) to G minor at 2:19. This energetic yet precise performance is by The Dover Quartet, which The Chicago Tribune reviewed as possessing “expert musicianship, razor-sharp ensemble, deep musical feeling and a palpable commitment to communication …”
Billboard magazine named Selena the greatest female Latin artist of all time; although she wasn’t able to break through to mainstream North American pop music market during her lifetime, she was beloved by millions of fans. From LoveSelena.com: “The New York Times praised Selena as a ‘young artist with unlimited possibilities.’ According to TIME magazine, Selena ‘was the embodiment of young, smart, hip Mexican-American youth, wearing midriff-baring bustiers and boasting a tight-knit family and a down-to-earth personality, a Madonna without the controversy.’ … Dubbed by her fans as the ‘Queen of Tejano‘ … the posthumous release of the album Dreaming of You gave a clear indication that Selena was, in fact, on her way to becoming a star in the English market as well.”
Selena was only in her mid-20s when, in 1995, she was murdered by an employee who was later convicted of misappropriating and embezzling the artist’s funds. The LoveSelena site continues: “Since her passing, Selena’s life has inspired a hit movie, a Broadway bound musical, and a successful clothing line … People magazine’s commemorative issue of Selena, which sold a record number of copies, ultimately spurred the creation of the now-popular magazine People En Espanol.”
“El Chico del Apartamento 512 (The Guy from Apartment 512),” reports EMI Latin, “is a Spanish-language cumbia with influences of Colombian and South American music.” According to Billboard, the tune describes a woman who knocks on the apartment door of a prospective love interest. His sister answers, but is mistaken for his girlfriend. Justino Aguilar of Billboard described the track as one of Selena’s most memorable; released just a few months before her death, it was certified 2x Platinum by the RIAA. There are unprepared half-step modulations at 2:14 and 2:44.
Many thanks to longtime MotD fan Alex M. for this submission!
The final track on Mariah Carey‘s 1999 album Rainbow, “Thank God I Found You” features guest vocals from R&B singer Joe and the American boy band 98 Degrees. The track was Carey’s fifteenth number one hit, and the sole chart topper for 98 Degrees.
“She’s got ‘Thank God I found you’ and that’s about it,” producer Jimmy Jam said, reflecting on writing/recording the song. “She sang the melody. We usually have [producer] Big Jim Wright sit in on those kind of sessions to work out chords. He wasn’t there so I had to work out the chords myself. So I’m playing and there was a part where I said, ‘Man, what chord am I supposed to do here?’ and Mariah has such a good ear, she sang me the chord.'”
The track modulates up a minor third, from Bb to Db, at 3:18.
From the R.E.M. album Green, “Orange Crush” reached #1 in the Billboard Alternative Charts and Mainstream Rock Hits, #28 in the UK, and #5 in New Zealand in 1989. PowerPop.Blogquotes R.E.M.’s lead singer Michael Stipe: “The song is a composite and fictional narrative in the first person, drawn from different stories I heard growing up around Army bases. This song is about the Vietnam War and the impact on soldiers returning to a country that wrongly blamed them for the war.”
Songfacts details that while the chemical known as Agent Orange was “used by the US to defoliate the Vietnamese jungle during the Vietnam War,” it had far broader effects as well: “US military personnel exposed to it developed cancer years later and some of their children had birth defects. The extreme lyrical dissonance in the song meant that most people completely misinterpreted the song, including Top Of The Pops host Simon Parkin, who remarked on camera after R.E.M. performed the song on the British TV show, ‘Mmm, great on a summer’s day. That’s Orange Crush.’”
The subject matter was uncomfortably close for R.E.M. frontman Michael Stipe, whose father served in the helicopter corps during the Vietnam War, Songfacts reports. “Stipe sometimes introduced this in concert by singing the US Army jingle, ‘Be all that you can be, in the Army.’”
The tune starts in E minor, but shifts to E major for a interlude-like section featuring wordless vocals at 0:50-1:06 before reverting to the original key. The interlude returns twice more, but the reiterations have an additional layer of unintelligible sung vocals and spoken military-style chatter superimposed over them.
Schmigadoon!, a comedy TV series that premiered on Apple TV+ last month, is a parody of and homage to Golden Age musicals from the 1940s and 50s. “Schmigadoon! is nothing if not corny,” said Vulture TV critic Kathryn VanArendonk in her review. “It is a backstage musical (like Cabaret or Follies, a musical about putting on a show) that’s stuck in the world of integrated musicals, shows like Oklahoma! or Sound of Music, where songs are naturalistic extensions of the narrative’s emotional arc. In other words, it is a show where the only real way to register your feelings about being trapped in the aesthetics and the morality of a Golden Age musical is to burst into song about how weird and frustrating it all is. And really, what could be cornier than eventually giving in and singing about the transformative power of love (and also musicals)?”
“Cross That Bridge” is from the third episode of the show, and takes its inspiration from the Frank Loesser songs “Brotherhood of Man” (from his 1961 musical How To Succeed In Business Without Really Trying) and “Sit Down, You’re Rockin’ The Boat” (from the 1950 musical Guys & Dolls). The tune features modulations at 1:58 and 2:14.
“Since 2009, the Los Angeles-area collective has created their signature sound from field recordings and an electronic junk drawer, splicing compound beats and sending warped vocal transmissions,” reports AsthmaticKitty, Fol Chen’s label. “The band calls their genre ‘Opera House,’ a name lifted from Malcolm McLaren but recoined as beat-driven electronica with grand, operatic gestures and lyrically dense storytelling … think of it as pop music for people who aren’t sure where or when they are, but who know it’s nowhere they’ve been before.”
NPR reviewed the electronica/pop tune “No Wedding Cake,” from the band’s debut 2009 album Part 1: John Shade, Your Fortune’s Made: ” … How can you not develop an immediate fondness for an art-rock experiment that delivers sentiments like, ‘I could never break your heart,’ and simply beseeches us to just ‘listen to this song’? … charm and a knack for memorable melodies is what lends Fol Chen an energy too many self-consciously hip bands lack.”
The band experiments with multiple shifts in instrumental texture on the track, from an occasional burst of up-the-neck 16th-note funk guitar to gently undulating keyboards whose slow sine-wave pulse is entirely separate from the relentless eighth-note groove. 1:33 brings a casual, unprepared whole-step modulation so guileless that it’s barely noticeable. Many thanks to our regular contributor JHarms for this submission!
Featured on Janet Jackson’s 1986 album Control, “Let’s Wait Awhile” represents a departure from the sexually provocative themes typical of Jackson’s output. “I didn’t think at the time we were sending out any kind of significant message,” Jimmy Jam, who helped co-write the song, said. “For us it was more like a love song. It got interpreted as maybe more of a statement than it was intended to be. It’s a very simple love song and it was just saying, ‘Let’s wait. I’m not going anywhere, so let’s just take our time.’ Lyrically, that was Janet’s concept and we shaped the music to fit.”
Released during the AIDS crisis in the United States, the song was also frequently employed as a teaching tool to encourage abstinence. Critic Danyel Smith commented in the magazine Vibethat “on the fragile [ballad], Jackson’s tender, hesitant delivery conveys all of the trepidation and wonder felt by a young girl on the brink of losing her innocence.”
Jackson included the track on two of her greatest hits albums, and performs it regularly on tour. A modulation from Db to D occurs at 3:14 (the tune briefly returns to Db in the outro at 4:24.)
AfroPunkpraises Stevie Wonder’s “Summer Soft” from his legendary 1976 album Songs In the Key of Life: ‘“You’ve been fooled by April, and he’s gone. Winter is gone,’ sings Stevie Wonder atop spiraling instruments. If you could create a song that encompasses the calm excitement of watching nature at the park — or on Netflix — that song would be Stevie Wonder’s ‘Summer Soft.’ It’s a cathartic epic about life and loss, using the changing seasons as a metaphorical backdrop, with Wonder’s voice sounding more pained with every passing verse, but … the production blooms.”
The track was one of so many singularly strong tunes on this celebrated album. From Pitchfork‘s review: “Songs in the Key of Life was the culmination of a historic period of creativity for Stevie Wonder. Its ambition and scope were unprecedented, and he never approached its caliber or impact again. Stevie Wonder’s legacy ranks among the most powerful in pop music, though his story remains elusive. His songwriting and his voice echo through virtually all R&B-related sounds that have followed him … yet there is no major biography, no documentary, nothing that presents the full sweep of the most dominant and defining artist of the 1970s. And make no mistake—it was an era of superstar acts and chart-busting albums, but no one was as universally loved, respected, and honored as he was.”
After the tune starts in F# major, the first chorus (1:02) shifts to B minor, but then drifts back to the initial key for the next verse. At 2:17, a half-step modulation hits not at the start of a new section, but rather on the last note of the pre-chorus, transitioning to B minor — a pattern that’s repeated. Thereafter, the lid blows off as the tune winds up more and more, though it’s difficult to pinpoint a specific apogee of the energy. At 3:32, the tonality of the final chorus stabilizes, leading us to an instrumental outro; there’s a fade in volume (in high 1970s fashion), but no lag in energy.
“Night Flyer,” written by Johnny Mullins, was included on the 2004 re-issue of Emmylou Harris’s 1976 album Luxury Liner and features guest singer Delia Bell. The track demonstrates Harris’s trademark country/bluegrass style, and modulates from C to D at 2:18.
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