If/Then, a 2014 original Broadway musical with a libretto by Brian Yorkey and music by Tom Kitt, tells the story of woman named Elizabeth who moves back to New York City at age 38 looking for a fresh start. The show, which ran for 401 performances and starred Idina Menzel, received Tony nominations for Best Score and Best Lead Actress in a Musical. “Always Starting Over” is Elizabeth’s climactic Act 2 number and features a number of key changes throughout, with the most prominent one occurring at 3:42.
Tag: USA
O.C. Smith | Little Green Apples
“O.C. Smith began as a jazz vocalist and later moved into country and R&B,” reports AllMusic. After singing in Count Basie‘s band in the early ’60s, Smith then moved into into a unique soul/country mix, scoring a hit with “Son of Hickory Holler’s Tramp.”
Smith then went deeper into the soul genre. “Little Green Apples,” released in 1968, went to #2 on both the pop and R&B charts. Later in life, he became a pastor of a Los Angeles church while also continuing to perform and record until his passing in 2001.
The unusual modulation, up a minor third, hits at 2:07. Many thanks to MotD regular Rob Penttinen for this submission!
Jean Berger | The Eyes of All Wait Upon Thee
According to the Milken Archive of Jewish Music, composer Jean Berger was born Arthur Schlossberg in Germany in 1909. After earning a Ph.D. in musicology in 1931, he moved to Paris and changed his name to Jean Berger as the Nazis came to power in Germany. He later moved to the United States, became an American citizen, and enlisted in the US Army in 1942. After the war, he became an arranger for CBS and NBC and toured as a concert accompanist. During the latter part of his career, he taught for decades at several American colleges and universities while continuing to compose.
Choral works were very much the central focus of Berger’s composition. “The Eyes of All Wait Upon Thee” (1959), one of Berger’s best known pieces, is based on text from Psalm 145. This performance, taken from a 2012 collection entitled Worthy to Be Praised, is by the Messiah University Choirs’ Chamber Singers.
After starting in E minor, the piece features a mid-section (0:49 – 1:18) which shifts across several keys. The third section partially mirrors the first, with the substantial difference of closing the piece in E major.
We See The Light (from “Something Rotten”)
Nominated for 10 Tony Awards, the 2015 Broadway production Something Rotten is one of few wholly original musical comedies to hit the Great White Way in recent years. Karey and Wayne Kirkpatrick collaborated in writing their first Broadway score for the show, receiving Tony, Drama Desk, and Outer Critics Circle nominations for their work, as well as a Grammy Nomination for Best Musical Theater Album. Key change at 3:14.
Little Steven and the Disciples of Soul | A World of Our Own
AllMusic calls Little Steven Van Zandt a “renaissance man and champion of the rock & roll underdog … one of rock’s most colorful figures.” In addition to his multiple lengthy stints in Bruce Springsteen’s bands going all the way back to the late 1960s, Van Zandt has worked with Southside Johnny and the Asbury Jukes; written for Gary “U.S.” Bonds; formed Artists United Against Apartheid, which produced the all-star Top 40 1985 single “Sun City”; intermittently fronted his own band, The Disciples of Soul; and was a featured actor on the groundbreaking TV drama The Sopranos.
With a sound that stands somewhere between that of his longtime employer Springsteen and one of the several pop phases of rock chameleon Elvis Costello, Van Zandt’s “A World of Our Own” (2019) starts big — and stays there. Rather than relying on burgeoning dynamics or lyrical arc to build interest, Van Zandt uses modulations to propel the listener through a wall of sound.
Starting in A major, the tune shifts to C major at 1:35, then to G major at 2:02. At 2:35, we’ve arrived back to A major, but by then, it feels like a new chapter rather than a return.
Many thanks to perpetual mod submitter JB for this contribution!
Ariana Grande | Tattooed Heart
“Tattooed Heart” is the fourth track from Ariana Grande’s 2013 debut album, Yours Truly. It was the first song recorded for the album, and Grande claims her inspiration for writing it was a tattoo she got on her right foot. Other notable performances include a 2013 presentation on The Today Show to promote the album, and a feature in the “Women of Soul” concert at the White House in 2014. Key change at 2:16.
Elaine Elias | Through the Fire
In advance of striking out on her own, Brazilian jazz pianist Elaine Elias studied at Juilliard before joining Steps Ahead, “a jazz supergroup featuring Michael Brecker, Peter Erskine, Mike Manieri, and Eddie Gomez. She recorded one album with the group, Steps Ahead, in 1983,” reports AllMusic. Elias has garnered praise as a “versatile pianist and singer who has played straight-ahead jazz, fusion, and Brazilian jazz with equal skill.”
“Through the Fire,” a tune co-written by pop writer/producer David Foster, is best known for its 1984 rendition by R&B singer Chaka Khan, which reached #60 on the US Billboard pop chart, #15 on the Hot R&B/Hiphop chart, and also received substantial Adult Contemporary airplay. Elias covered the tune only a few years later, collaborating with former Return to Forever bandmates Stanley Clarke (bass) and Lenny White (drums) for her cover on her 1986 debut as a leader, Illusions.
Though the tune is primarily in Ab major, Elias provides an interlude in A major between the chorus and the return to the verse (first heard at 1:46 – 2:04). This harmonic shift is emphasized all the more by the suddenly gentler groove, which drops away almost completely at times. At 4:54, the interlude returns again, morphing into an extended outro featuring a solo by Clarke in his distinctively guitaristic electric bass style, shifting to C major along the way.
Jonathan Coulton | Shop Vac
For years, Jonathan Coulton has flown under the radar for many listeners while becoming required listening for the tech set. Online tech commons Slashdot praises Coulton:
“If you haven’t heard the news, Jonathan Coulton can do anything. In 2005 he quit his job in software and became an “internet rock star and former code monkey,” eventually opening for music legends like Aimee Mann and They Might Be Giants … Coulton’s work was eventually featured in three different Valve videogames … In 2017 he was even nominated for a Tony for his work on Broadway’s SpongeBob Musical, and while co-writing some songs for Aimee Mann, he was also creating his own concept album about our tech-saturated society. Oh, and Coulton also released a crowdfunded album of 1970s soft rock covers ‘that sound exactly like the originals‘ — because he can.”
Coulton’s 2005 album Thing a Week One featured “Shop Vac,” a jaunty tribute to the banality of stereotypical suburban life. This video version, featuring wall-to-wall typography of popular brand logos, couldn’t be more fitting. The bridge at 1:59 features a modulation, followed next by a guitar solo with a beautifully animated graphic transcription. At 2:30, there’s a return to the original key.
Robin Thicke | Brand New Jones
American-Canadian singer/songwriter Robin Thicke makes his MotD debut with “Brand New Jones” from his 2002 debut studio album A Beautiful World. Thicke has collaborated with Usher, Christina Aguilera, Mary J. Blige and Jennifer Hudson among others, and currently serves as a judge on the Fox reality singing competition show The Masked Singer. Key change at 3:12.
The Delfonics | Didn’t I Blow Your Mind This Time
“The sound that producer Thom Bell created for the Delfonics was the antithesis of the soul sound that came from Stax in Memphis and Muscle Shoals in Alabama,” according to AllMusic. “He sandpapered away the grit, lightened up on the backbeat, brought in string sections, and created a smooth, airy sound…a different kind of groove where subtlety and nuance reigned.”
“All of the individual elements that helped create the distinctive ‘smooth grooves’ sound synonymous with the Delfonics coalesce with undeniable intensity” on the Delfonics’ fourth LP, 1970’s The Delfonics, AllMusic continues. “Indeed, the material has arguably never been stronger … ideally scored, incorporating string and brass sections without overpowering the vocal blend or seeming pretentious … several sides on this disc are among the group’s best-known works, as well as definitive entries into the distinct Philly-brand soul music scene. The leadoff track, ‘Didn’t I (Blow Your Mind This Time),’ would not only become a staple of Top 40 and R&B radio in 1970, but nearly two decades later inspired the 20-volume soul music compilation Soul Hits of the 70s: Didn’t It Blow Your Mind.“
After an intro in F major, the verses are in A major (for the first time at 0:19); the choruses are in F major, prominently announced by a series of Bb/C kicks (IV/Vs) pushing the door open into the new key (for the first time at 1:01). The opening moments of the intro, 2:29, and a few other spots present prominent features for french horn — not exactly a typical part of most soul horn sections.
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