Marc Cohn came and went in the early 90s, a classic one-hit wonder. Winning the Grammy for Best New Artist in 1991, he's done very little since, other than releasing another album, a spattering of collections and live recordings, and getting shot in the head.
I have to give Cohn credit; in that narrow crevasse between the mohawks and acid-washed jeans of the 80s and the hammer pants and breakdancing ninja turtles of the early 90s he made some really nice folk rock music. His album Marc Cohn has the feel of really competent musicians who aren't trying too hard. For that, I feel like it's worth a revisit. The album credits include Don Alias, Steve Gadd, James Taylor and a host of other studio musicians who are probably amazing though not recognizable by name.
Walking in Memphis is beautifully recorded, as I listen to it for the first time in a while on good headphones. (incidentally, it was mastered by present Mainer Bob Ludwig, a couple years before he started his business in Portland) The rhythm instruments are layered beautifully, with piano, synth sounds, guitars, organs never really getting in the way of each other. There are many tasteful, nuanced choices like the way the bass lays out until halfway through the second verse, the piano part changing in the second verse, all sorts of colorful synth notes in the bridge and very careful dynamics throughout. Really, with good headphones it is striking how well-mixed this song is.
What gets me is the rhythm, because I am sure as a kid I heard it wrong. I'm a sucker for music that I realize I have been hearing incorrectly. There are many ways to botch the piano part; one is to add thirds to the chords. It is a IV, V, I, vi in C Major, but none of the chords have thirds in the piano part, just open fifths.
More likely, people tend to square up the rhythm. Especially since the time is nebulous when he plays the main piano part, it is easy to square it up in your head but the strongly accented root notes should actually all be anticipations. Here is exactly how it shouldn't be played:
People often square it up like this because it is easier to play and sing at the same time. Here it is done correctly:
(for those trying to play it on the piano, I recommend playing the first two notes of each chord in the left hand, the second two in the right hand)
Note that the first chord starts on the down beat, so there are only three notes (the high C is omitted). Besides being a pretty hip syncopation, the pattern played with the sustain pedal creates lingering color tones for each chord. The high D on the G chord carries into the C, and so forth. This makes the chords sound like this: FM7, Gsus, C2, Am7. It manages to be simple (easy pattern, no thirds) and elaborate (syncopated, color notes and suspensions implied) at the same time.
So "hats off" to Marc Cohn. You could probably make a strong case that Boyz II Men should have won the Best New Artist Grammy that year, but I really appreciate his musical competence and unpretentious roots-style songwriting. For those who enjoy Cohn, I recommend checking out his Silver Thunderbird, which was one of my favorite songs as a kid. One hit is more than I've ever had, and I think his praise was well-deserved. Here's hoping Marc Cohn has a long happy life and never gets shot in the head again.
Boyz II Men have several hit songs that I could dig into but, since this blog is about greatness, I want to settle once and for all what the greatest Boyz II Men song is. I'm going to look at the two classic ballads, On Bended Knee and I'll Make Love to You. Both are from the 1994 album "II," and both topped the Billboard charts. Bended Knee is the underdog, having spent a mere 6 weeks at #1, although it ended I'll Make Love's 14-week reign, making Boyz II Men the third group after Elvis and The Beatles to usurp their own song from the top spot.
Now I know what you're thinking: what about End of the Road? I know, I considered it. For some reason, despite it spending more time at #1 than Bended Knee (13 weeks!), it just doesn't do as much for me. It has a couple things going for it: a nice minor-11 voicing on the vi chord, the extra long talking section by the bass in the middle, and the a cappella ending. But this is the heavyweight championships; there can be only one winner, and I'm afraid End of the Road didn't make the cut.
With that out of the way, let's fight!
ROUND ONE
On Bended Knee comes out swinging hard with a top-to-bottom glissando in the synth bass at :07. I could listen to that all day. It's interesting that the intro and interludes are in Ab, then the verse moves to Eb - it's a nice compositional touch. Another, deeper synth gliss brings into the chorus at :52. Great chords in the chorus, especially the Db9 with the low bass note. Nice harmonies and unisons, and I appreciate the patient tempo...a solid beginning for the contender.
The first thing I notice is that I'll Make Love to You doesn't sound quite as good; that is, it's a little more reliant on synthesizers. Bended Knee has a nice acoustic piano and some nylon string guitar. Even if they're fake, they sound real enough and I think they warm up the sound a lot.
That aside, there's a lot to like. What at first sounds like a very uninspired I-vi-ii-V song keeps surprising me, with the bVII chord in the intro, the A/G (third chord of the verse) and the chromatic approach to the ii chord at :40.
The chorus is nice - harmonies are a little obvious but it's definitely catchy. I'm just starting to lean toward Bended Knee when WHAT? The singer brings us into the second verse at 1:29 with a high "girl, relax" over the break as the bassist plays a sweet descending lick way up the neck. That's a real bass, not a synth. I am reminded why I'll Make Love is the reigning champ. This is going to be good fight, folks.
ROUND TWO
Bended Knee's second verse and chorusoffer few surprises, but there is plenty to enjoy: variations on the melody, falsetto, great synth bass parts and lots of vocal riffing over the chorus. It's a solid second act that ensures that you don't get bored.
Next comes the bridge...or does it? The bridge can be the best part of the song - a chance for variety, sometimes a very catchy different idea to give your ears a rest, offer a new lyrical perspective and send you off to the end of the song with new excitement.
But Bended Knee doesn't really have a bridge. At least, not at first. Instead, they start with bass Michael McCary talking over the verse chords. "Baby." It's a move borrowed from End of the Road and, while I don't dislike it, I worry that it is a lost opportunity for a great bridge.
Shortly there after they move to Cm, in what could be considered the bridge, although it feels like more of a pre-chorus section. There's nothing special in the chords, but the backup harmonies and synth bass continue to be excellent. The round ends with an outstanding, if predictable, modulation to the final chorus. If you're going to move the song up a half step, that's how it's done.
I'll Make Love gets increasingly kinkier, as any of us who has ever listened to the song in an uncomfortable car ride with their mom can attest. The second verse and chorus are serviceable, again keeping it interesting with some vocal riffing. Nothing too exciting happens, and I would argue that Bended Knee does a bit more with this part of the song.
But the bridge is where the champ really flexes its muscles. The singer is up in his head voice and he's not leaving. The bassist is killing it, playing a nice arpeggio at 2:44 followed by - OH SNAP - are those power chords? In the bass? Yep. Listen carefully, it's E5, D5, C5, in the bass. You don't hear that every day. Then we build the V chord, the singer is way up high, the bass slides down and we're in the final chorus. It's going to be close one.
ROUND THREE
Bended Knee is just coming off a big modulation, and I find myself wondering whether it helped itself. While it was done well, it's also such a cliche writing device that I'm left feeling more impressed that I'll Make Love didn't modulate.
The final chorus sounds a lot like the second one, and there's nothing wrong with that. Things appear to be winding down around 4:25, and just as it seems Bended Knee has played all of its cards - ARE YOU KIDDING ME? It's a second modulation. I did not see that coming. With the singer up on some high Cs, this is fantastic. It's like he had finally given up on the girl, walking away, then decided no, I CAN'T GIVE UP. I'm going for it. Bravo.
There is a melisma at 5:54 that doesn't really fit the chord (Eb9), but it happens so quickly that I won't deduct much for that. I like that they play the intro to finish and end up closing the song in Bb, despite the fact that no other part of the song was in Bb. Somehow it works. It's a solid finish. Now let's see what I'll Make Love has left.
We just coming off the huge build from the bridge, and the first thing I love is that the singer carries his note over from the bridge into the chorus. This also happens in Bended Knee, but what really makes it special is it turns into a kind of descant over the chorus. It's a nice touch, and all of the ensuing vocal riffs are excellent. There's not much to dislike in the final chorus, but also no big surprises. It kind of wraps up after a couple quick iterations, then fades out instrumentally, as though the song feels it has nothing more to prove.
DECISION
This is a really tough call. Both songs have some really strong points and both deserve a prominent place in your "Lotion Music" mix tape. By a hair, I think I have to give it to the underdog, On Bended Knee. Compositionally it just feels like a better song. While I'll Make Love is harmonically a bit generic, Bended Knee has a clever intro and nice chords throughout. While I appreciate the real bass in I'll Make Love, the synth bass is just so well done in Bended Knee that it comes out ahead. Add to that the epic second modulation, contrasted by the phoned-in ending of I'll Make Love and I think it's clear who the winner should be.
Ultimately, I think my first impression was the right one. To me, Bended Knee just sounds better. The arranging, mixing and mastering seem to have been given more attention, and that can make all the difference. Still, both are solid songs and a strong case can be made for either. Just know that, if you are deciding which to listen to in the car with your mom, On Bended Knee is always the better choice.
Before I dig into the Clapton, I want to look at a couple other songs. I've had this Mindy Gledhill song stuck in my head for a while now. (I'm not ashamed to admit I heard it a few years back in an underwear commercial - don't judge)
What really gets me, beyond the pretty singing and delicate arrangement, is the third chord. Of course, it is the IV chord. I've gone on at length on why the IV chord is often the most impactful, my theory being that it is between the I and V, where all the drama happens. What really makes it special in this song is how unexpected it is, due to the movement of the bass. The line starts on "do," then "ti", and when you'd expect it to keep moving stepwise to "la" it instead jumps right to "fa."
The root-position IV chord sounds so bold and warm and comes out of nowhere.
The jump from "ti" to "fa" is a tritone interval. This is the interval that most music students are taught to avoid when writing parts in theory and counterpoint classes. These classes typically focus on the choral writing of Bach, and the principles are consistent today. It may no longer be consider the Devil's Tone, but it is still a rare melodic interval. Despite several centuries of composers finding ways to break the "rules," the fact is that they still apply. Tritones don't move as smoothly as seconds, thirds, fourths and fifths. As a practical matter, there just aren't a lot of tritones available to the bassist in diatonic music. "ti" and "fa" are the only tones a tritone apart, so unless IV is going to vii, you won't hear it very often in Western pop music.
Another perfect example is "Take My Breath Away," the 80s ballad from Top Gun:
This song is great because it has both possibilities for contrast. In the verses the synth bass goes to the expected "la," then when they get to the chorus and the lyrics to land harder, it goes to the root position IV chord. (except the middle chorus, for some reason - maybe to build some anticipation for the final chorus) This makes the chorus dramatically prettier and creates contrast with the verse. It's brilliant writing - I could almost do a post on this song by itself.
Wonderful Tonight
That brings me to Eric Clapton's classic Wonderful Tonight. Most young guitar players learn this ballad pretty early on; it has an easy lead riff and the chords are simple enough for most beginners to play. Gigging musicians like myself have probably long since burned out on it, but it is always a reliable way to get people slow dancing.
Its simplicity belies some of the more nuanced brilliance of the song. For example:
Beginning drummers will often play eighth notes on the hi-hat, but the groove is much busier than that. My friend and drummer Andy Robbins pointed out that, with the ghost notes, almost every 16th note is played in the groove.
The organ, Rhodes, and rhythm guitar all play busy parts that fill out the song without sounding like they're stepping on each other. That's not easy!
I love the slight hesitation before the band comes back in at the end of the bridge, as he says "...how much I love you." That kind of thing is less common in the age of computerized click tracks.
And, of course, the chord progression has the wonderful "ti" to "fa" tritone. Although the bassist softens it with an approach note, the chords and effect are almost the same (and in the same key) as the Mindy Gledhill song above.
All theory aside - while I admit that I have burned out on Wonderful Tonight - I appreciate the nuances and, most of all, its simplicity. There are no vocal acrobatics or guitar wizardry. Anyone can sing it. Not lofty metaphors; it reads like a poem some guy wrote on a napkin for his wife one night. Sometimes little things make you happy. In my case, it's an unexpected root-position IV chord.
As I mentioned, the holidays are a busy time for us musicians, and so I never did write a followup to my O Holy Night post. I'm sorry kids, Santa didn't come this year...but he's here now!
What makes a performance of O Holy Night good? There are a handful of bullet points that I look for:
Faithfulness to the song. This is a classic carol, evocative of Christmas nostalgia for many - not a showpiece for egotistical divas.
Chords. I'm not opposed to reharmonization, but it should be thematically consistent. Don't use all of the original chords and then beef a couple just to be clever.
Dynamics. The song is placid to begin, and should build to the climax. You have to work hard to mess up the dynamics of this song.
The climax. This song more or less builds to the high note; it is the summit, so singers should pick a key in which they can nail it. Don't force it, don't milk it, just nail it.
With this in mind, here are my reviews of some well-known and less-well-known versions of O Holy Night:
1. Josh Groban
I hate to give Josh Groban credit, but this is pretty solid. My biggest gripe is that some of the orchestral swells outpace the song a little bit. The tympani, especially, seems to push the dynamics a bit much. A little minimalism in the arrangement would have been refreshing. A couple points lost for squaring up the form, but I guess that's pop music for you. He milks it a bit by tagging the chorus and holding the high note a little long but, eh, it works.
Grade: A-
2. Luciano Pavarotti
Expectedly, Pavarotti is true to the form. Taking the song in Eb, he sets himself up for a true tenor's climax. There isn't much to complain about in terms of form and arranging.
That said, I feel like the heavy vibrato and constant forcing detracts from the gentleness of the song. On top of that, it seems like he's always pushing the tempo. The high note is very forced. It's not bad - I'd definitely play it in the background while decorating the tree - it just doesn't quite give me that warm Christmas feeling.
Grade: B+
3. Celine Dion
Did Celine Dion sing this? O holy crap. I would never buy a Celine Dion album, but she is good at what she does and I believe she has some of the best producers in the business. Her songs are always perfectly crafted, and they do climaxes right - I might even write about one of them someday.
On this one, however, I think they blew it. The whole first half is quite nice. I appreciate the simplicity and reserve. The choral interlude is a little corny, but I'll let it slide. I see no reason for a synth bass when they have a string orchestra handy, but that's barely audible. Then as it builds toward the climax, you start to hear the Celinisms come out in her voice. You know what I'm talking about.
Like Groban, she tags the climax - and man, does she milk it. It's not the worst thing in the world, but think it seals my opinion. Her recording starts out like a nice Christmas Carol and ends up like a Celine Dion song.
Grade: C
4. Celtic Woman/ Chloe Agnew
I really didn't want to do this one, but it's the top hit on YouTube and has over 11 Million views. I don't know why these corny, overproduced PBS specials bug me so much. They're just so...sanitary. There's nothing wrong with the arrangement, it's just really, really artificial. They make it look like some magical medieval congress in - is that a freaking castle? - while these photogenic wood nymphs sing perfect angelic tones. If anyone was actually at one of these "performances" I guarantee it sounded nothing like what you hear. They go back, correct pitches, rerecord parts, etc...basically airbrush every hint of impurity out of it until it is a perfectly digestible flavorless syrup for public consumption.
I mean, I guess that's what the Groban and Dion versions are, but there's something about the visual presentation that really rubs me the wrong way. The real sin is that it completely abandons the tone of the carol. Jesus was born in manger, not in a castle in front of privileged, white bread ticket holders.
Grade: C-
5. Kings College
I need a little detox after that last one, so we're going to church. John Rutter arrangements occasionally rub me the wrong way, but this one is solid. I love the organ; it's warm, supportive and never gets in the way. Best of all, there is no studio magic here, just beautiful cathedral acoustics.
Grade: A
6. *NSYNC
You might think that I would hate this one - especially since I had to do a full transcription of it years ago - but I don't. It's poppy, studio perfect, deviates far from the original, and doesn't really build to the climax very much.
However, I still think it's a really good arrangement. It appears to have been arranged by producer Robin Wiley, who has some major vocal writing skills. The reharmonizations are really nice and it has some great moments, including a smooth modulation. Also, they do a pretty decent job of it live, without any pitch correction. I don't think I'd put it on as we open presents on Christmas morning, but as a standalone it's not half bad.
Grade: B
8. Mariah Carey
Ok...they're going for a gospel thing here...nothing wrong with that. The melismas are a bit much, but actually pretty reserved for Mariah. The gospel choir works. Organ solo in the middle? Thats...weird. It sounds like she's going for it too early in the second chorus, but as we all know Mariah has an extra whistle octave to work with. Sure enough, right at the climax, there it is: the Double B. For those looking on a piano, here it is:
What can I say? It's a good arrangement, all the pieces fit, the climax is great. It also has nothing to do with Christmas or the original tone of the song. As a novelty, I'll give it the same treatment as *NSYNC.
Grade: B
That's about all I can handle. I hope the holidays were great for everyone, here's to a whole new year of picking apart the best (and worst) songs!
This is a busy time of year for musicians, but I wanted to find time to make a Christmas-themed post. I am often asked what my favorite Christmas song is, and it is difficult to choose. I love the whole Charlie Brown Christmas album, but when pushed for a favorite I feel inclined to go back further.
Have Yourself a Merry Little Christmas is an easy pick for me; it has great chords (especially for jazz musicians), a good form and its dynamics, from the beginning to the climax, almost play themselves. It would be my bronze medal choice.
I have a soft spot for Silent Night. It is so simple, so serene, and yet so evocative. When I hear, or sing it, I feel as though I'm in the 19th century, watching snow fall by candlelight. Silent Night is my silver medal choice.
I think my gold (and I admit that my choice could change depending on the day) is O Holy Night. Done well, it gave me goosebumps when I was ten, and gives me goosebumps now.
A little history on the piece: it was written by French composer Adolphe Adam to the poem Minuit, chrétiens by Placide Cappeau. The song was supposedly written in 1847, but the earliest score I could find (from the Library of Congress) is dated 1871. It appears to be a score by Adam himself - or at least a faithful reproduction. The score is stamped "1ST.COPY." and says "Only Correct Edition." over the title, so I believe it to be as close to the original source material as we can get.
One point that interested me about the piece was finding out what the original key was. It seems that even in the 19th century it was transposed to a variety of keys, presumably to accommodate different singing ranges. Because it covers over an octave and a half, the piece really needs to sit in the sweet spot for whomever is singing it. I found versions in C, D, A and Eb published before the turn of the century. Most versions were in Eb. The original score said that there were versions in Eb for sopranos and tenors, and in C for altos and baritones. (I'm not sure many altos and baritones would be excited about the high G near the end)
Looking over the score, it is surprising that the chords have gone largely untouched over the last century and a half. Some modern interpretations might reharmonize it a little, but the original chords are pretty much as you know them today. The melody, on the other hand, has a has seen some variation over the decades. For one thing, while the accompaniment is all triplets - basically in 12/8 - the melody contains no triplets.
In many modern versions the song is just written in 12/8, with the melody in triplets as most people sing it. Also, it seems that Adam was a fan of melodic variation, as can be seen in the score above. Each verse in the original scores is a little different, but most are close to the melody as we know it today. I was surprised to see many of the common modern variations and embellishments in the earliest scores.
Why it's Great
Now on to what I like about this song. The number one reason is intangible; like many carols, it evokes early childhood memories of Christmastime. I'm sure we had this song playing in the background every year during the holidays, as I hung stockings and decorated the tree with my family. It has a calm, stirring warmth to it that I can't explain.
From a theory standpoint, there are a lot of curiosities that make the song stand out. The use of a melody that is in straight 4/4 over an accompaniment that is in 12/8, while common in the Romantic era, is unusual in popular music. Also, the dynamic range is quite large, with Adam's score jumping from pp to ff at the "Fall on your knees" section.
Then there is the issue of form. This song can mess with a lot of singers because, like me, they tend to hear the first line ("O Holy Night") as the downbeat. In actuality this phrase is a pickup. That means that, between stanzas and verses, the singer must wait a measure and a half before coming in, though the impulse will be to start on the downbeat.
It also means that the first two stanzas are 5 measures long. I enjoy that such an unusual length flows so naturally. The full form is: 1 (one measure intro), 5 (verse stanza 1), 5 (verse stanza 2), 4 (pre-chorus), 8 (chorus), 4 (chorus tag). That's definitely unique.
I also like the slinky way the verse moves from Eb to Gm by turning the I chord into an augmented sixth chord in Gm. (curiously, Adam, a Frenchman, used the German augmented sixth, not the French!):
Last, what really sells the song is the climactic "Fall on your knees" section that builds to the high note. It is a great vocal showpiece and I especially like how the high note is first "mi", then the very high (Bb) "sol" is at the end. The way it carries into the following measure is beautiful. As "mi" it becomes the 9 in a 9-1 suspension over the ii6 chord. Then as "sol" it becomes the 4 in a 4-3 suspension. I would argue that the former is actually prettier, as it creates the sound of an unexpected IV chord with a 7-6 suspension. As I mentioned in my Ode to Joy post, there's just something about the IV chord.
I'm not sure that I would want this to be the only Christmas song I listen to for the rest of my days. If I had to pick just one, it would probably be Silent Night. But when I'm in the right mood, nothing beats O Holy Night. Because of its popularity, the song has been covered by countless artists. If I have time before Christmas, I'll review a handful of them.
It is difficult to find Prince songs online, as he seems to be quite aggressive and litigious about copyrights and online distribution of his material. Nevertheless, I have found a video for reference below. Enjoy it while it lasts!
I wouldn't say I'm a huge Prince fan, but I have to give credit where it is due. He is pretty talented and "Kiss" is one of the more interesting treatments of the I-IV-V chords. There are a couple things I particularly like about this song:
1. The Bass
I know I always turn to the bass, but in this case it is the lack thereof that interests me. I can't think of many other (any?) pop/rock songs that have drums, but no bass. As always I am a fan of "Less is More" production, and I give extra points for subtractive decisions that are particularly counterintuitive. Somehow this one works. There is a very heavy synth bass drum and some lowish synth parts, but other than that there is very little low end in this song.
2. The Chord...
...the opening chord, that is. There are a lot of notes in that chord, so I couldn't resist figuring it out. As it turns out it is more or less impossible on the guitar. This is what I hear:
There may be some very creative ways to achieve this chord on the guitar for those with especially dexterous hands, but I doubt they would sound right and would be difficult to land in the middle of the a performance. On a second pass it is obvious that there are (at least) two guitars here. This is how I would break them down:
The first guitar is a lot cleaner, almost a completely dry sound. There are some major wah/phase effects on the second part. I did a quick and dirty recording of both parts:
Guitar 1:
Guitar 2:
Both Parts:
If you don't have a couple guitarists in your band, I would just go with the voicing that seems to be most popular on the internet:
You're only missing the C#, which is barely audible to begin with. That's good enough for live shows, but it is fun to go back and dig into the original recording to see what makes it so unique. Hats off to you Prince, you ridiculous, talented weirdo.
The collaboration of John Coltrane and Johnny Hartman might easily make my top 10 jazz albums. If I need to relax, this is the one to put on.
What makes it so mellow? The rich baritone and calm sax are a big part, but I believe the answer is in the rhythm section. For jazz musicians, My One And Only Love is standard repertoire and, while I might be a little tired of playing it, I never tire of the Coltrane/Hartman recording. So I put on my headphones to try to see what made that version So Great.
The answer is in the bass, as it often is. Most musicians learn this song from The Real Book, which looks like this:
Note the crowded walk-down in the first measure. It's a nice contrast to the ascending melody, but also maybe a little busy; it seems to distract from the melody a bit. There's also a series of inverted chords in the following measures. There's nothing wrong with them, but I feel that maybe it sounds a bit too clever for the subject matter.
The Coltrane/Hartman version uses far fewer chords, with a more straightforward I-vi-ii-V in the first two measures. As I listened I realized that not only were the chords simpler, but the bassist never plays an inversion. This is unusual for jazz bassists. Every chord is in root position, except for the short pedal in between the sax and the vocal sections. I don't think I've ever heard another bassist give the song that treatment. It was clearly something Jimmy Garrison was doing deliberately.
I also enjoy that they use the raising 5th progression in the bridge, versus the descending 7th that always seems to clash with the melody. It is refreshing to find new ways to play old songs, so for those interested, below are the Coltrane chords to My One And Only Love. I tried to use simple chords rather than McCoy's thicker voicings and alterations, so look to the recording if you want to build on it*.
* A few hints on McCoy's voicings: he plays an A13 on the second chord, plays a 13(#11) on the D7 chords (upper structure, think guide tones in the left hand, E triad in the right) and usually alters the B7 in the bridge. (again, upper structure - try guide tones in the left hand, F or G triads in the right)
