More bits and pieces
What sells a pop song — or perhaps a classical piece as well; ask Ludwig about those four notes starting off the Fifth — is the hook, the part that sticks in your ear, the part that makes the hair on the back of your neck stand up days or months or years later. I did a list of several hooks that I particularly cherished way back in 2004; since even the newest of those songs is now forty years old, it’s way past time for Part 2.
- Ohio Players, “Love Rollercoaster” (1975): “Say what?”
- 10cc, “Don’t Hang Up” (1976): Any number of 10cc tracks deserve mention, but this lovelorn song on How Dare You! ends with, yes, someone hanging up. The first time I heard it, I indeed gave out with a “How dare they?” Still catches me by surprise to this day.
- Deniece Williams, “Free” (1976): I ordinarily complain about excessive vocal ornamentation (got that, Mariah?), but for the six minutes this track is running, I don’t for a minute think Niecy is overdoing it. (Neither did the late Minnie Riperton, but “Free” is better than “Lovin’ You” or even “Memory Lane.”)
- Al Stewart, “Year of the Cat” (1977): One of the very few songs that could legitimately be made into an actual full-length film — think a more noirish Before Sunrise — what breaks me up about it is that long instrumental break in the middle, with acoustic guitar overlaid with electric, not quite enough of a pause to allow you to catch your breath, and the guitar part continues on saxophone. Audacious and dazzling. [Link goes to a live version, but it's the same arrangement.]
- The B-52′s, “Planet Claire” (1979): “Well, she isn’t!” If Fred Schneider had never said anything else, he’d be remembered for that.
- Godley and Creme, “Under Your Thumb” (1981): There may be scarier songs out there — I mean, there’s a suicide going on here — but I can’t think of any.
- Rhoda with the Special AKA, “The Boiler” (1982): Except for this one.
- Tears for Fears, “Head Over Heels” (1985): That opening piano bit is positively majestic. And “something happens…” — isn’t it always that way?
- Cameo, “Word Up!” (1986): “We don’t have the time for psychological romance.” Never did figure out what that meant, exactly, but it had the Ring of Truth.
- Crowded House, “Don’t Dream It’s Over” (1987): “We know that they won’t win.” And the organ is somehow reminiscent of Matthew Fisher’s, circa “A Whiter Shade of Pale,” which is always worth remembering.
- LL Cool J, “Going Back to Cali” (1988): When you tell someone “I don’t think so,” this is the voice you want to be using.
- Nine Inch Nails, “Hurt” (1994): The guitar/synth shriek under “I will find a way” goes on for eighty seconds, and you don’t start breathing normally again until it’s over.
- Alanis Morissette, “You Oughta Know” (1995): This was notable enough for sounding nothing like anything in either of Alanis’ two Canadian-only pop albums, which veered too much into Debbie Gibson-land to suit her, but where it kicks into high gear is in the very last interation of the chorus, where the synth-strings come in and double the level of tension.
- Faith Hill, “Cry” (2002): In the last chorus, she turns “pain” into a three-syllable word and makes it hurt that much more.
- Emmy Rossum, “Slow Me Down” (2007): Best non-Enya Enya ever. I have no idea how many vocal tracks she cut for this, but they’re so soft and breathy and ethereal that by the abrupt ending (it’s only 2:34) I’ve got my arms out to catch her. Every freaking time. When you say “dream pop” to me, this is the song I think of.
- Death Cab for Cutie, “I Will Possess Your Heart” (2008): That long instrumental opening is suitably menacing, but it’s the five-note (later varied) piano riff that keeps it focused, perfectly appropriate for a stalkerific number like this.
- Tristan Prettyman, “Madly” (2008): If there’s a “power chord” for the piano, it’s played under the chorus here. I keep wanting to play it myself, despite the absence of any suitable instruments on the premises.
- Freezepop, “Doppelganger” (2010): “Why don’t you see it?” might be Liz Enthusiasm’s sweetest vocal line ever, despite its accusatory context.
- Rebecca Black, “Person of Interest” (2011): In the bridge, that teen-dream voice suddenly gives way (on “You should be mine”) to something more urgent, more demanding, more — adult?
I’m hoping the links don’t rot away too quickly — and that you’ll kick in some of your own favorite bits.
Deborah »
29 January 2012 · 4:29 pm
One of the very few songs that could legitimately be made into an actual full-length film … . I have always though that the ballad “Brandy” (by Looking Glass) would make a fine movie. And I would cast the stunning Gina Torres in the title role. Haven’t decided about the man, though.
CGHill »
29 January 2012 · 4:52 pm
Certainly plenty of backstory. Then again, there’s always the question of whether Brandy’s story was adapted from the story of Mary Ellis.
Deborah »
29 January 2012 · 5:15 pm
I never knew about the story of Mary Ellis. It could make a difference. But I’m still casting Gina Torres :) I’m thinking John Corbett for the male lead.
Mark Alger »
30 January 2012 · 8:47 am
Year of the Cat: a friend observed at the time that the electric guitar is musically the same as a soprano sax. The lead parts are functionally equivalent.
Head over Heels: the lead guitar part is somewhat obscured, but would fit a sax well.
Don’t Dream It’s Over: I always found the organ on Repent Walpurgis more affecting than the better-known Whiter Shade.
I don’t think Corbet is a manly enough man for the lead in Brandy. More like Sam Elliot or Tom Selleck.
M
Deborah »
30 January 2012 · 9:45 pm
Goodness knows—Sam Elliott and Tom Selleck would make any girl go weak in the knees, but they are too old to play the lead.
CGHill »
30 January 2012 · 10:40 pm
@M: For sax/guitar congruence, see also Gerry Rafferty’s “Baker Street.”
Andrea Harris »
31 January 2012 · 10:37 am
I was thinking Sam Elliott too, and Tom Selleck would be a decent second choice, only…
“…they are too old to play the lead.”
Noooo—-!
Mark Alger »
1 February 2012 · 11:10 pm
Chaz: in re: “Baker Street.” Yes. Exactly.
Andrea: +1. Remember Tony Randall fathered a kid at 70-something. You’re never too old for romance. A lucky lady could get a lot of mileage out of a well-kept handsome man.
Hell. There’s a lot of mileage left in me, though about my keeping and looks, deponent sayeth not.
M
Mark Alger »
1 February 2012 · 11:11 pm
Who would you pick for the “Rick” part in “The Year of the Cat”? (Other than Bogie, that is.)
M
Gary »
11 February 2012 · 1:39 pm
Oh puhleeze! Don’t even mention the dreadful Mariah Carey–with her annoyingly self-indulgent vocal style which spawned dozens of imitators–in the same sentence with the excellent Deniece Williams. Though fully capable of intricate “vocal ornamentations,” Williams knows exactly how far to take it, and doesn’t ruin things by going overboard.
Yeah, I know it was an over-played pop hit in the 80s, but I still really like her rendition of “It’s Gonna Take a Miracle.”