“Think,” written and performed by the incomparable Aretha Franklin, was released in 1968 as a single from the gold-certified album Aretha Now. The track was also featured in the hit 1980 film The Blues Brothers, and is widely considered one of the best songs of the 1960s. Key change at 1:06.
Jack White’s Third Man Records provides an overview of The Fiery Furnaces, a duo comprised of siblings Eleanor and Matthew Friedberger. Forming in New York City in 2000, “their debut album Gallowsbird’s Bark was released to critical acclaim in 2003. In the following seven years, they released eight more albums and toured extensively throughout North America, Europe, Australia and Japan.” The band was active during the 2000s, ceased operations during the 2010s, but apparently is staging a 2020 comeback. AllMusic describes the band’s focus as a “sprawling sound that draws on influences from indie rock to musical theater.” Read the entire AllMusic band bio — it definitely shatters the “quirky” meter!
Describing the sprawl is The AV Club‘s review of the 2009 track “Even In the Rain”: “The Fiery Furnaces’ albums are generally littered with idiosyncratic flourishes that sometimes seem directly designed to alienate the band’s less-patient listeners: backward tracking, tempo shifts, extended keyboard noise solos, and key changes, among others … on stretches of ‘Even In The Rain,’ the song sounds like a relatively straightforward ballad with a strong keyboard hook. But the chorus, which consists only of the words “even in the rain,” slides the song between keys several times, lending a lot of unpredictability to such a short, simple phrase.”
The key changes are unconventional and are wielded casually; the first one hits at 0:26, just before the vocal enters. There’s little sense of directionality or catharsis to the modulations; instead, each one is a page in a short and vivid animation flipbook which seems to advance or reverse the plotline at random.
Considered by Vandross to be his “career song,” “Dance With My Father” is a tribute and remembrance of his father based on childhood memories Vandross held of his parents dancing together. “I played it over and over, and I cried and cried,” his mother, Mary Ida, said of the song. “I was amazed at how well Luther remembered his father, how we used to dance and sing in the house. I was so surprised that at 7 1/2 years of age, he could remember what a happy household we had.”
The track quickly become one of Vandross’s most requested songs, and won Song of the Year and Best R&B Male Vocal Performance at the 2004 Grammy Awards. Key change at 3:18.
“Strangers Like Me,” by English drummer and songwriter Phil Collins (best known for his work with the rock band Genesis), was originally featured in the 1999 Disney animated film Tarzan, and later included in a Broadway musical adaptation. Also popular as a pop song, the track reached the #10 spot on the US Billboard Hot Adult Contemporary Tracks chart. Straight-forward half-step modulation at 3:06.
After his death in 1976, the estate of Songwriters Hall of Fame inductee Johnny Mercer revealed several unfinished lyrics. Singer/songwriter, accompanist, and music director Barry Manilow, who’d befriended Mercer in his final years, was gifted some of these lyrics by Mercer’s widow, Ginger. Mercer’s estate details that one of these lyrics was for “When October Goes.” After setting the words to music, Manilow released the resulting ballad in 1984; the track reached #6 on the US Adult Contemporary charts that year. The tune has since been covered by Rebecca Paris, Kevin Mahogany, Rosemary Clooney, and many more.
AllMusic reports “Diva Nancy Wilson was among contemporary music’s most stylish and sultry vocalists; while often crossing over into the pop and R&B markets … she remained best known as a jazz performer, renowned for her work alongside figures including Cannonball Adderley and George Shearing … By the 1990s, she was a favorite among the ‘new adult contemporary’ market, her style ideally suited to the format’s penchant for lush, romantic ballads; she also hosted the Jazz Profiles series on National Public Radio.” From the JazzIz 2018 posthumous tribute to Wilson: “(her) supple voice, natural ability as a storyteller and willingness to cross musical boundaries made her a sensation in the jazz and pop worlds … (she received) three Grammy Awards during the course of her life — the first in 1965, the last in 2007 … “
Wilson’s version of the tune was released in 1991. It starts in C minor and shifts to Bb minor at 1:51.
“One of the leading R&B vocal groups of the ’50s, The Platters were the first black group to be accepted as a major chart act,” reports Oldies.com. “For a short time, were the most successful vocal group in the world. The Platters were formed in Los Angeles in 1953. ‘Smoke Gets In Your Eyes,’ which was an international number 1 hit single in 1958-59, highlighted their smooth delivery and arguably remains the group’s best-loved release…They were inducted into the Rock And Roll Hall Of Fame in 1990.”
The tune was written by American composer Jerome Kern and lyricist Otto Harbach for the ill-fated 1933 musical Roberta. Playbill reports that the Depression-era production was hamstrung from the start: “The biggest problem was the director, one Jerome Kern. That’s right, Kern — with no directing experience — directed the thing himself; Gordon, recovering from a flop musical which culminated in a nervous breakdown with a suicide attempt, gave in to Kern’s desire in order to get the rights. The show, which opened in Philadelphia — under the title Gowns by Roberta — was so poor that Gordon went ahead and fired Kern as director, although the latter remained on hand to work on the score. But a happy time was not had by anyone.”
Fortunately, the show yielded a wonderfully enduring tune. Starting in Eb major, the track modulates to the bridge, largely in B major (or more properly, Cb major), at 1:17. At 1:50, we return to Eb major. A leap of a major third: truly unusual!
The a cappella group (and MotD favorite) Voctave released a new album, The Corner of Broadway & Main St Vol. 2 earlier this month, featuring an assortment of Disney and Broadway hits. “Somewhere,” from Alan Menken’s The Hunchback of Notre Dame, closes the album. Beginning in C major, the arrangement modulates to E at 2:11 before retreating back briefly to D at the 3:00 mark. A final shift to F occurs at 3:33.
AllMusic describes Little Feat as “long-running purveyors of funky southern boogie (by way of Los Angeles). Though they had all the trappings of a Southern-fried blues band, Little Feat were hardly conventional. Led by songwriter/guitarist Lowell George, Little Feat were a wildly eclectic band, bringing together strains of blues, R&B, country, and rock & roll. The band members were exceptionally gifted technically and their polished professionalism sat well with the slick sounds coming out of Southern California during the ’70s. However, Little Feat were hardly slick — they had a surreal sensibility, as evidenced by George‘s idiosyncratic songwriting, which helped them earn a cult following among critics and musicians.”
This live version of “Mercenary Territory” is from the 1978 live album Waiting for Columbus. Mostly in D major, the tune takes us through a brief but trippy key-of-the-moment patch from 1:18 – 1:25. We then embark on an extended D minor instrumental bridge from 1:55 – 3:36 featuring a boisterous romp of a sax solo, ending in stratospheric off-the-horn glissando fireworks (a horn section wasn’t a regular part of the instrumentation, but no less than the Tower of Power horns joined forces with Little Feat here). At 3:36, there’s a prominent shift back to D major.
Many thanks to recurrent contributor JB for this submission!
“Strut” was originally featured in the 2006 film The Cheetah Girls 2, a sequel to the 2003 Disney Channel original movie The Cheetah Girls. The story traces a talented teen quartet who take a whirlwind tour of Spain to pursue their dreams of pop superstardom; it is the eighth highest-rated Disney original movie ever. Key change at 2:30.
“Happy & Sad” is featured on the 2018 album Golden Hour by American singer/songwriter Kacey Musgraves. Comprised exclusively of original songs, Musgraves ventures into disco and electropop on the record, which was awarded Best Album and Best Country Album at the Grammy’s (Musgraves also received Best Country Song and Best Country Solo Performance accolades for other tracks.) Key change at 3:02.
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