Tag: USA

George Jones | He Stopped Loving Her Today

“There’s an old cliché that says country music is mostly comprised of three chords and the truth,” reports American Songwriter. “There’s also a generalization that says country music is, on the whole, unremittingly sad. Needless to say, those are broad descriptions that limit the scope of a type of music that encompasses many different musical strategies and is capable of conveying the full range of the emotional spectrum. Yet there is no doubt that “He Stopped Loving Her Today,” the 1980 masterpiece by George Jones, does indeed adhere to those clichés, even as it finds a way to transcend them.

After all, the song is pretty much just three chords. (Technically, there are six, but that’s only because of the key change.) The truth can be found in Jones’ stunning performance, a vocal for the ages. And the song itself, composed by Bobby Braddock and Curly Putman, contains the sadness, which was then amplified to majestic proportions by the production of Billy Sherrill.

All of those disparate elements and unique personalities meshed to create this one-of-a-kind recording from 1980. The accolades for the song were immediate, as it won Grammy, Academy of Country Music, and CMA awards. It continues to amass honors, including selection by the Library of Congress National Recording Preservation Board in 2009 and numerous occasions when it was named greatest country song of all time on various media lists.” 

The tune is a classic Country music ballad, but it’s certainly not a spare voice-and-guitar ditty. Rather, given its high production values, strings, and overall polish, it fits squarely in the Countrypolitan category. The modulation arrives at 0:54, early in the long list of the song’s emotional hits. The arrangement continues to escalate, accompanying Jones’ understated singing and simple yet devastating spoken word narrative.

Stevie Wonder | You Are The Sunshine Of My Life

Hailed by Rolling Stone as one of the 500 greatest songs of all time, Stevie Wonder‘s “You Are The Sunshine Of My Life” was featured on his 1972 album Talking Book. The track was awarded Best Male Pop Vocal Performance at the Grammy’s, and nominated for both Record and Song of the Year; it also was Wonder’s third song to hit the #1 spot on the Billboard Hot 100 chart. Key change at 2:09.

Theme from “Jeopardy!”

Alex Trebek, the beloved host of the game show Jeopardy! for 35 years, announced in 2019 that he had been diagnosed with stage IV pancreatic cancer. He continued to work throughout his treatment, often in excruciating pain. “I’m not afraid of dying,” he said. “I’ve lived a good life, a full life, and I’m nearing the end of that life. If it happens, why should I be afraid of that?”

Trebek taped his final episode on October 29, 2020, and passed away at age 80 on November 8. In honor of the airing of that episode tonight, we are bringing back our 2012 post of the Jeopardy! theme song. Key change about halfway through. 

Lady Gaga | I Wanna Be With You

“Glamorously gaudy, a self-made postmodern diva stitched together from elements of Madonna, David Bowie, and Freddie Mercury, Lady Gaga was the first millennial superstar,” reports AllMusic. “Mastering the constant connection of the Internet era, Gaga generated countless mini-sensations with her style, her videos, and her music … Gaga crossed over into the mainstream, ushering out one pop epoch and kick-starting a new one, quickly making such turn-of-the-century stars as Christina Aguilera and Britney Spears seem old-fashioned … repurposing the past (particularly the ’80s) for present use, creating sustainable pop for a digital world.”

“I Wanna Be With You” was first performed in 2013, but wasn’t released as a studio version until 2019. Referencing her hit “Born This Way” in its lyric, the tune starts in D major, then climbs to Eb major at 3:20 after a proper power-ballad drum break.

Robbie Dupree | Steal Away

PopMatters reports “In 1987, Rick Astley positioned himself as Michael McDonald’s Mini-Me. But there was another contender who’d got there before him. If ever someone had both a voice and songwriting style reminiscent of McDonald, it was Robbie Dupree, the singer/songwriter who emerged in 1980. Perhaps that’s unfair; he was also his own man, writing or co-writing the bulk of these two soft-rock-with-a-smooth-jazz-twist albums, originally on Elektra. They’re shiny, expensive-sounding affairs, typical of the final throes of the first singer/songwriter movement. Robbie Dupree was already in his mid-30s when his self-titled debut came out. He did remarkably well to land at #6 on the Billboard Hot 100 with 1980’s frothy ‘Steal Away.'”

After starting in A major, there’s a key change to D major as the bridge hits at 1:44.

Rebecca Luker | Can’t Help Singing

Written by Jerome Kern and E.Y. Harburg for the eponymous 1944 film, “Can’t Help Singing” is performed here by Rebecca Luker, who passed away from ALS late last month at age 59. Luker had an illustrious Broadway career that spanned three decades and was known for her luminous soprano voice. “During her audition Rebecca brought such a freshness to the music, as if I had never heard the score before,” said Susan H. Schulman, who directed Luker as Maria in a 1998 production of The Sound of Music. “Little hairs stood up on the back of my neck. You don’t expect songs that you are so familiar with to take you by surprise that way. She has the most glorious voice. The instrument is so pure.”

Luker is survived by her husband and fellow Broadway actor Danny Burstein. This track is included on Luker’s 2013 album I Got Love, featuring the music of Kern. Key change at 1:53.

Bill Evans | Danny Boy

The New York Festival of Song reviewed jazz pianist Bill Evans‘ “Danny Boy” in 2018. The album on which it appeared, Time Remembered, was recorded in 1963 but not released for two decades — several years after his death in 1980.

“ … It marks Evans’ return to the recording studio after a year spent grieving the death of Scott LaFaro, his trio bassist, who was killed in a car accident. Evans showed up to the studio alone, played four tunes, and walked out – or so the story goes.

I share the notion with many of you that time is money, but the 11-minute price tag on this song seems like nothing if you’re willing to sit with him as he musically figures out how to breathe again. The space, sparseness, and tender hesitation of every note he plays in the beginning unravel the knots of my heart every time, and in doing so, remind me of why I do what I do.”

Unexpected modulations — which seem nothing short of inevitable after they’ve gone by — are all over this tune.

Sun Rai | Chase the Clouds

Australian native Rai Thistlethwayte‘s website reports that “his mother was a classical piano teacher, and his father was a language teacher who played bass and guitar in local rock bands. Influenced by his parents, Rai developed an appreciation for a wide variety of music, including classical, rock, pop and jazz.” He served as a keyboards and vocals sideman for multiple acts early in his career. One of his more prominent projects as sideman has been with the band Knower. In an interview with Abstractlogix, Thistlethwaite explains:

“With Knower, I’m playing much more in the ‘synthesizer’ world, lots of rhythmic stabs, a few keyboard solos with lead sounds. I’m using a laptop based setup, so that garners a very different sound in terms of tone color … If it’s not grooving, it’s not happening. I don’t overthink an ‘approach’ to playing, I just try and do what seems musically sound for the task at hand!”

From our regular contributor Carlo Migliaccio comes a tune by Thistlethwayte’s own project, Sun Rai: 2013’s “Chase the Clouds.” Sun Rai’s spare funk-tinged duo sound features Rai on vocals, keys, and keyboard bass, with only the support of kit drums, recorded live in the studio. Starting in Bb minor, there’s a jump to Bb major at the chorus (1:05.) The Bb major/minor line is straddled some more until 4:22, where there’s a key change to B major.

Try To Remember (from “The Fantasticks”)

“Try to Remember” is the opening song from Tom Jones’ and Harvey Schmidt’s 1960 musical The Fantasticks, which holds the record for the world’s longest running musical with 17,162 performances in its initial run. First performed by original cast member Jerry Orbach, the song at its core is about nostalgia for a simpler time:

Deep in December it’s nice to remember although you know the snow will follow
Deep in December it’s nice to remember without the hurt the heart is hollow
Deep in December it’s nice to remember the fire of September that made us mellow
Deep in December our hearts should remember and follow.

The tune briefly passes through two different keys starting at 1:51 before returning to the tonic F Major.

Melissa Manchester | Don’t Cry Out Loud

Chris with MotD co-curator Elise at the piano in 2011 — probably singing “Don’t Cry Out Loud.”

This post originally appeared on MotD on April 8, 2019. We’re bringing it back in expanded form today in honor of Christopher Larkosh, who contributed the tune to us. Chris passed away from a sudden illness at the age of only 56 on December 24th, 2020. He was a MotD fan who contributed multiple tunes to our collection; others are still in the queue, waiting their turn.

May the memory of Chris’ enduring humanitarian spirit, deep understanding of music’s ability to motivate and heal, and pervasive musicality be a comfort to all who knew him.

Elise

MotD fan Christopher Larkosh contributes today’s tune: “Musical geniuses Peter Allen and Carole Bayer Sager put ‘Don’t Cry Out Loud’ in good hands with Melissa Manchester. This is probably why it’s one of my all-time karaoke and piano bar favorites to this day.” A 1978 top ten hit in the US and Canada for Manchester, the tune was later covered by Rita Coolidge and Liza Minelli, among others. The modulation kicks in at 2:35.

In an interview with Scott Holleran, Manchester, a songwriter in her own right, said of the tune: “I remember being friends with Peter Allen and Carole Bayer Sager and hearing (it) as a very quiet song, bringing it to him and saying yes, it’s gorgeous, let’s do it the way Peter did it — as beautiful and quiet. [Then] I showed up in the studio and the cannons blew on this huge version — which turned out beautifully, it turned out as a gift.”

In a 2004 Billboard interview, Manchester expressed uneasiness about the song’s take on grief: “I finally understand what it meant … I [originally] thought it was a brilliant song, but it seemed like the antithesis of everything Carole [Bayer Sager] and I were writing, which was always about self-affirmation and crying out and sharpening your communication skills. But it’s a beautifully crafted song that was all about how in the end you just have to learn to cope — and that’s no easy thing.”

Those of us who knew Chris will remember that he was never one to hide his feelings, either — and we’re all the richer for it.