"The Morning After" - Maureen McGovern, 1973

"The Morning After" or "The Song from the Poseidon Adventure" is one of many random 70's hits that made its way to the no. 1 position on the Billboard Hot 100.  In my analyses thus far, the 70's contributions have been real head scratchers.  Just a year before today's entry, Gilbert O'Sullivan sang about committing suicide after being stood up at the alter.  In 1971, the Bee Gees crooned softly about their own familial troubles.  The Carpenters sang a low key classic in 1970 and even Lionel Richie kept the slow dance moving with 1978's "3 Times A Lady."  Of this 6 songs I've analyzed from the decade, the average tempo has been 89 bpm.  Yes, I know the sample size is small and random, but I think this speaks to the fondness of ballads and easy listening that permeated the collective popular tastes.  

Maureen McGovern was a secretary who sang in a folk band.  When 20th Century Fox wanted a single version of a prominent song in the movie The Poseidon Adventure, McGovern eventually got the call. [1]  It worked out well for her, even if the music (and movie) are good examples of melodramatic cheese that 70's is now known for.  Despite an overall presentation that is quite forgettable, there are some interesting changes and melodies buried within the lush orchestral arrangement.  

August 4th - August 11th, 1973: "The Morning After" by Maureen McGovern sails at the no.1 position on the Billboard Hot 100 for 2 weeks!

One of the elements that both hurts and helps this song is the length.  It's quite short, so you never have enough time to be completely annoyed by it.  It's so short, however, that it's easy to forget.  There is no chorus, just three verses (and a coda) that use variations on the lyrical theme "there's got to be a morning after."  

The AABA form isn't too surprising for a song featured in a movie and written by TV and movie writers Al Kasha and Joel Hirschhorn.  It has a very "jazz lead sheety" vibe.  The song plods on with some thick arranging with a full orchestra that never really traverses too much ground.  Harmonically, it's jazzy as well, which features a bridge that eventually sets up a modulation for the final part of the tune (more on that in "Chord Progressions").  

The outro hammers home the hook several times with an impressive countermelody over the top.  As pleasant as some moments are, it's over as soon as it begins.  

Chord Progressions 

The opening chords tell you right away we are in for an easy listening  spectacular.  Harp glissando, soaring oboe, warm piano, oh my.

Intro

In the key of Bb, IV and V lead us, predictably, to I.  The Fsus to F change foreshadows a sequence that permeates the entire tune and happens on just about every V -I cadence throughout.  Once in the verse, strings lay down some lovely pads behind a moving piano and a surprisingly active bass line.

Verse 1 Score Redux

Bb    /  Fsus  F  D7    / Gmin   / EbMaj7  / C7         F   D      / Gmin   /  Eb    Ab  / Fsus   F
I       /    V         V/vi / vi         /  IV          / II (V/V)  V  V/vi / vi        /  IV     bVII/ V

The chromatic and stepwise bass motion takes center stage for me, with beautiful voicings forming around the moving line.  Included above are some of the moving string and piano parts that add to the overall texture.  Though the changes are fairly "normal," there are a few surprises like the C7/E and the Ab.  These moments, enhanced by a patterned vocal melody, do their best to help the song develop an identity (which it never really does).  

The repeated piano notes in m5 is, in a way, foreshadow the gnarly harpsichord part in verse 2:

Verse 2 Harpsichord

The notes shift in small increments, outlining the chord of the moment in a fashion not unlike the bassline stealthily moving through the changes.  Unfortunately, the harpsichord dates the sound in a major way.  (I'm personally glad modern pop music doesn't feature too many harpsichord call backs).

The bridge features a few harmonic twists that eventually lead to a modulation up a half step.  The first shift moves up a minor 3rd from Bb to Db major.  The ultimate function of this chord is V/V of the modulated target (B major), so perhaps C# is more appropriate?  Either way, we get shifting chord qualities with more stepwise motion in the supporting instruments.  After 3 1/2 measures, The bass comes off the Db pedal and sets up DbMaj7/Ab and Gb (F#) where the modulation fully comes into view.

Bridge Score Redux

  The Gb (F#) leads to E, where a ii-V change sets up the turnaround to the new key.  In these final measures before the return to A, we get a variation on the verse changes - ii-IV / Vsus V, instead of IV / ii V.  The use of the Vsus V resolution also leads the ear back to the A section.

Db (C#)            /  %  / % / Db  /Ab Gb(F#)   / E     / F#min  B      /  C#min  E  / F#sus  F#
bIII (V/V - B)/       /     /                V/IV (B) / IV  /  ii (E)    V (E)/  ii          IV/  V (B)   

 The A section repeats for a third verse and we hear the same changes, only up a half step.  The coda features a moving B chord, functioning similarly to the Db in the bridge with shifting lines that change the quality of the chord.  Here, they move trough the 6th and 4th.  Check out the bass in this section, ripping through some improv style lines of the constant B major tonality.  

Melody

Maureen McGovern delivers a strong performance belting out the melody.  Most phrases are concluded with a sustained note that she holds for the full rhythmic value.  Knowing that Maureen was singing in a folk band at the time, her style and delivery makes sense as I can almost smell the Appalachian valley on her breath.

Verse 1 Melody

If you look at the first and last notes of each melodic phrase, there is a nice shape that appears.  The first phrase centers around F, 5th of Bb.  She moves lower to D, 5th of G and major 7th of Eb.  She goes down even further to C (root of C7, 5th of F and 7th of D7) and lands on Bb, minor 3rd of Gminor.  She finished the final phrase with several roots and 5ths of the passing chords.  F-D-C-Bb-F  

While there is mostly stepwise motion at work, the leaps stand out and provide some interesting moments.  I especially like the descending minor 6th leap from Bb to D in measure 4.  The 5th/4th sequence in measure 7 is another nice moment.  

The bridge kicks in with a short and sweet vocal harmony (3rds).  The melody uses rhythmic variation of the verse melody, simplifying some of the busier phrases and syncopating what was previously straight.  Her phrases, here, begin centered around the 3rd, F.  Leaps of 3rds and 5ths lead to accentuating the 9th, Eb.

Bridge Melody

As the approach to the modulation kicks in, the melody shifts from the 3rd to roots and 5ths, a callback to the verse's melodic construction.  This bridge melody is by no means offensive to the ear, but maintains the theme of just kind of being there.

The third verse, in the key of B, reuses the established verse melody.  The 8th measure adds an additional phrase that sweeps into the coda in grand fashion.  The phrases starts on the 5th, leaps to the root and then approaches the root again 6, 7, 8.

Verse 3 melody to Coda

The coda brings back the vocal harmony, this time with a call and response variation on the main theme.  The contour of the two phrases is very different and this little melodic burst definitely peaks my interest in listening.  Unfortunately, the song is over before this part can really sink in.  Form wise, it happens at the most logical point in the song......too little, too late though.

Lyrics

 

On the surface, the lyrics tell the story of two lovers desperately trying to weather the hard times upon them.  They come off as impersonal with many analogies to nature (night, shore, storm, darkness, warm).  Upon further investigation, these lyrics are directly tied to the movie in which it is featured, The Poseidon Adventure.  They take on a new meaning in that context, with the subjects hoping to literally see the next morning and survive the impending doom of a sinking ship.

The verse uses the rhyme scheme ABCB while the bridge employs ABAB.  These lyrics aren't really offensive, but like the rest of the tune, they're just kind of there.

Common Threads

I am fascinated with common musical themes and elements present in a variety of no.1 songs through the decades.  In each round of analyses, I have attempted to identify these themes and track their presence in various decades.  Picking up from 1983's "Every Breath You Take," let's see how Maureen McGovern stacks up musically. 

Repetitive Melody - for such a short tune, there is quite a bit of repetition in the melody.  The verse phrases have similar contour and structure and are repeated 3 times throughout, plus the opening phrase again in the coda.  

Melody Utilizes Chord Tones - The melody consistently outlines chord tones, with a special fondness for roots and 5ths.  

Two Harmonic Sequences *- A and B represent two different chord sequences.  The modulation maintains the structure of the A chord changes.

Multi-layered Percussive Accompaniment - The drums float around in the background.  There are a few moderately interesting fills, but nothing to write home about.

Dense Arrangement - Here's a new one for this round of analyses.  The orchestral part is very dense with many moving parts and pads throughout.  Some of the pop songs in the 2000's have had a similar density, but don't come close in complexity and orchestration. 

Features Rap/Spoken Vocal - Maureen is a true trobairitz!

Melodic Bass Line - Though it's somewhat subtle and easily forgotten with the dense arrangement and, err, forgettable nature of the tune, this bass line is hip!  The lines run at the end are exceptionally fun. (In fact, transcribing this one was what pulled me out a two month long hiatus from this project.  Nothing like a 70's ballad to stop your progress on a music analysis project!)

Vocal Harmony - There are those brief spots in the bridge and then the call and response at the end.  Not super important, but it's there.

Non-Linear Form - AABA is a standard musical form.  Each section consists of 8 measure phrases. The coda does fade out, but it's balanced in the way the phrases are laid out.  

Chord Count: 18 - Bb, Fsus, F, D7/F#, Gmin, EbMaj7, C7/E; + their 1/2 step up counterparts; Dbmaj (several variations), F#min, C#min, Eb69.  

DRUM ROLL....We have a new winner for highest chord count.  Maureen McGovern wipes the floor with Gilbert O'Sullivan's "Alone Again (Naturally)" (1972) by 4 chords!  I'm not surprised this new record occurs in the 70's.  At this rate, the 1974 entry should be equally as complex in it's chordal construction. 

5/8....common threads....factoring in the new category, 6/9.  Not too shabby for song that leaves such a shallow impression.

Final Takeaways

hmmm, I'm not sure what to say about this one.  I don't hate the tune and have even found myself, as usual, blurting out the hook while going through my normal routines.  Aside from that, the tune doesn't resonate with me.  

In my research though, I have found this song apparently resonates with many.  First, Maureen McGovern , herself, appears in the 1980 comedy classic Airplane! as the singing nun!  How fitting that the movie that helped her song soar to number 1 was the very kind of disaster flick Airplane! set out to poke fun of in the first place.  

Also, this song has been used as the ubiquitous "cheesy love ballad" in several controversial cartoons - South Park [2] and Family Guy [3]!  I guess it's this type of forgettable content that writers look for to get their point across and accrue the lowest possible copyright fee?  Or they just hope no one will notice at all?  It's funny where the number 1 songs end up after their moment of the sun has ended.

Up next time, we head to the last stop in the journey "on the 3's."  The second week of August in 1963...

August 10th - August 24, 1963....a three week run at no.1 and the first appearance for this legendary artist.  "Fingertips" by Little Stevie Wonder gets the nod.  Stay tuned!

[1]https://www.stereogum.com/2039490/the-number-ones-maureen-mcgoverns-the-morning-after/columns/the-number-ones/

[2]https://southpark.fandom.com/wiki/The_Morning_After

[3]https://familyguy.fandom.com/wiki/The_Morning_After

"Every Breath You Take" - The Police, 1983

 "Evil" and "nasty" are not usually words used to describe songs that achieve no.1 status on the Billboard Hot 100.  Such words are also generally not associated with a band's signature song and biggest hit.  Today's analysis is indeed that "nasty little song," 1983's "Every Breath You Take" by The Police! [1]

With often misinterpreted lyrics, "Every Breath You Take" not only masquerades as a love song, but as a depiction of a thriving band.  When The Police recorded this, the band was on the brink of self destruction.  Sting was going through a divorce and tensions between drummer Stewart Copeland and Sting were reaching a boiling point. [1]  It got so bad in the studio that Copeland and Sting couldn't even be in the same room.  Copeland would track upstairs from the main studio and have the control room on a video monitor only to watch his band mates shake their heads at his takes and often leave him in a communication-less state of confusion.  Copeland would try to record drums before Sting arrived only to find out later, his parts had been erased. [2].  It's a wonder the record got made and an even greater wonder that such a timeless song resulted from these sessions.   

This song is a great representation of the musical puzzles I have been investigating through this "Decade Hit" analysis project.  We will see simple chord progressions and straightforward melodies enhanced with small nuances that really make the song pop.

July 9th - August 27th, 1983: "Every Breath You Take" by the Police lasts 8 weeks at the no.1 position on the Billboard Hot 100 charts!

 

The form of  "Every Breath You Take" is stealthily simple.  The 8 measure chord progression that dominates the verses is introduced instrumentally in the intro.  2 verses and a chorus are followed by a third verse that feels like a refrain, or even an obligatory post chorus shout.  The first bridge, slamming a slight key change, lasts 10 measures.  This leads smoothly into the verse changes, or "middle 8" as it may be.  This secondary bridge (B2) flows through the verse changes with a few new melodies where we get shades of the outro. 

The end of the song reigns in predictability with a return to the chorus and 3rd verse/post chorus.  A short tag on the hook leads to the outro, a condensed version of the main chord progression complete with repeated background vocals and tags of the main hook.  Like so many songs that reach no.1, it fades out.

I feel the song has two hooks, or catchy parts that easily identify the song.  In this case, the title line happens at the beginning of verse 1 and the same intervals are used at the start of every verse that follows.  The last line of the chorus, and tagged vocal hook in the end, is also a strong and familiar part of the melody.  "I'll Be Watching You" has a slightly different intervallic structure in the verses yet the same number of syllables as "every breath you take."   It's slightly morphed in the end to fit the intervallic structure of "every breath you take."  It's a slick switcheroo that takes advantage of the familiar and palatable melody.

The song is in the key of A major.  There are live performances of the Police performing this in concert A.  This studio version is slightly tuned down though, almost a full half step.  For the sake of simplicity, parts that follow are written A.  It is kind of fun to picture Stewart Copeland vengefully sneaking into the studio at night and setting the tape machine to a slower speed the night before they shipped off the mastered versions, just to get in Sting's head.....probably not.  

Chord Progressions

 This relatively simple chord progression is led by the killer guitar arpeggios of Andy Summers.  According to a 2000 Revolver interview with band, Summers had been playing with Robert Fripp (King Crimson) and was given permission, by Sting, to make an original guitar part that replaced his Hammond organ on the demo tape.  He went with a Bela Bartok inspired arpeggio pattern that looks something like this: [3]     

Verse - Guitar

At its core:

A  /   A  /  F#min  /  F#min / D  / E / F#min /  F#min / 
I  /   I   /  vi         /   vi        / IV / V / vi        / vi 

The ol' familiar I-vi-IV-V progression.  A classic pop trope that we will likely continue to see well into the future.  The big difference here, every chord includes an added 9th.  This little flavor burst takes the common changes and lights it in a new way.  The arpeggiated presentation add another dimension and a classic is born.  This guitar part is impressive.  Playing this clean over the entire song is no easy feat.  Andy Summers proves why is one of the criminally underrated masters of guitar.  

The chorus adds in new change, but keeps it mostly in the realm of predictability.  The arpeggio pattern is also continued verbatim.

Chorus - Guitar

D   /  C     /  A  /  A /  B  /  B /  E  /  E /
IV / bIII  /  I    /  I  /  II  /  II  / V   / V 

The IV - bIII change is unexpected but so good.  The classic II-V to get back to the verse progression is simple and very fitting.  This chorus is just another example of time-tested chord progressions with some extra kick that help them to stand out.

The bridge, on the other hand, kicks away the traditional pop patterns in favor of an edgier progression that is more reminiscent of The Police signature punk/reggae/new wave style.  

The part kicks in with slightly dirty F major chord and toggles back and forth to G three times for a grand total of 10 measures:

FM7#11 / FM7#11  /    G     /  G   
bVI       / bVI          / bVII  /  bVII

This is another standard pop music progression, but it's usually seen in minor key songs.  This is another good example of standard conventions used in a not so standard way.

This brief departure is a perfect bridge, giving the ear a slight break from the established harmony and bringing the rock before settling into the end.  On top of all of this, there is a sweet piano melody running in the background that fills in the gaps and ties the part together:

Bridge 1 - Piano

The piano line moves 5-#4-3 through the F chord, reinforcing the #11 with B natural.  The same line is moved up a whole step to yield 5-4-3 over the G chord.  This motif will be heard again in the middle 8 bridge and in the outro, recognized by the suspended 4 to third resolution, the same intervals found in the hook. 

The end of this section also ushers in the piano presence in the back half of the tune.  Repeated A notes will permeate the outro and the first hint of that is seen here.  

The coda of the tune takes the verse chords and reduces them into a tight 4 measure cycle:

Aadd9   /  Aadd9  / F#min9  /  Dadd9

I           /   I           /  vi          /  IV

The lack of the V chord allows this part to be endlessly looped with no sense of conclusion, perfect for a fade out.  Also, checkout the piano flutters on repeated A's.  It is a great added texture that closes out the song with a new element.  

Melody

Like the chord progression, the melody uses a straightforward approach and classic structure with a few twists that make it pop.  We see this immediately in the first verse:

Verse 1

Each phrase is centered around the same group of notes: C#, D, B and A, or 3rd, 4th, 2nd and root in the key of A.  The last phrase contains a quasi spoken F#.  Each phrase starts on beat 2 or (1)+ and acts as a pickup for the next chord change.  The rhythmic structure is very interesting.  Sting ends up singing on the off beats much of the time, generally by a 16th note.  I would imagine most vocal arrangements of this melody simply put the notes on the downbeats.  Sting, however, is always just a little behind the downbeat, another element that makes this melody stand out.  

The second verse is mostly the same, but tweaks things a little further:

Verse 2

The first phrase end on the high C# (major 3rd), a forceful note that lets you feel the power of Sting's voice.  Similar phrases follow, only with a little less anticipation.  Sting favors the downbeats in this measure, seamlessly finding the balance to the first verse's slight delay.  

Up to this point, the melody has been completely diatonic and used, predominantly, 4 notes, with that added F# as a phrase ending alternative. 

The chorus takes the melody to a new place, exploring higher notes, yet maintaining a similar construction to the verse with like phrasing. 

Chorus

The first two phrases rise and fall with A, C#, D, E and F#, complete with the familiar delayed vocal resolutions.  The next phrases go even higher and stick with pitch groupings: A and F# approaching the Badd9 (R-6/ A - b7-5/B) and then B and F# (R-5/B - 5-9/E) finally resolving to the root on the Eadd9 chord.  

The chorus is a great companion to the verse, offering familiar syncopation and interval structures and well as phrases that anticipate the subsequent chord changes.

The bridge finally breaks the diatonic seal as we shift to the bVI chord:

Bridge 1

The melody starts by moving between A and G, 3rd and 2nd of Fmaj with some familiar off beat syncopation used in the verse and chorus.  G, E and D (root, 6 and 5) are used over the G chord in similar fashion.  Slowly, the D is used as a low anchoring tone over the F major bars as Sting stays disciplined his choices throughout the section.  It ends with a big swell up to the high A, another great example of the power of Sting's vocal ability.

Sting's delivery of this bridge is very powerful and compliments the more forceful guitar parts.  The entire bridge melody stays in line with the rest of the song, utilizing familiar syncopation and like phrasing.  

The middle 8, or Bridge 2, features 8 measures of instrumental playing and then introduces a vaguely familiar vocal melody.

Bridge 2 - Vocal Theme

Vocals and piano blend together to create this line, 5-4-3 in A, a direct call back the piano just introduced in bridge 1.  These intervals also make up part of the hook "Every breath you take" and will come back to haunt you in the outro,  It's a great example of musical foreshadowing.  

When we get it in full, Sting takes us home by repeating this melody every 4 measures:

Outro Hook

3-4-3-2-R.  The 4-3 resolution from the middle 8 comes back again.  This line, as mentioned previously, is the same melodic structure as the opening line to the song.  It's a great "full circle moment" in terms of how a melody can go through a long journey to end where it started.  

The coda is filled with lots of other stuff too, including this repeated melody:

Coda 

  The words shift through several variations but they each maintain this melody.  This close harmony moves between root and 3rd on the A chord, which morphs to 3rd and 5th of the vi chord and is then varied with the familiar 4-3 resolution over the D bar.  

To put a pin on the full circle aspect of the melody, the ending vocals rehash almost all of the previous lyrics, repeating them over and over with additional statements of "I'll be watching you."

There is one special moment that stuck with me at the end, a single statement of a falsetto swoon:

Coda Vocal Variation

B-A, or 9th of A to minor 3rd of F#min, a pattern not heard in the song prior.  This part reminds me of something in the ending of U2's "One," a song that would come out almost 10 years after this one.  It reeks of familiarity and no doubt is just another ingredient that helps this song stand out...great stuff.  

Lyrics

The lyrics to "Every Breath You Take" have a great flow.  They roll off the tongue and present a solid of example of words that sound good together.  

The verses follow a rhyme scheme of AAAAB, with each B being the refrain, "I'll be watching you."  The chorus follows a pattern of AABB and the bridge follows AAAAB, in similar nature to the verses.  

By now, most people are probably aware of the devious intent this song presents.  Sting wrote this on vacation in the Caribbean, channeling his feelings on love and possession.  When you look at the lyrics from the point of view of a stalker, it is rather sinister, especially the opening line of the chorus:

Oh, can't you see you belong to me?

It is humorous that there have been reports of this being used as a wedding anthem.  The musical qualities and certain key words, "vows" for example, make that initial impression viable, up to a certain point.  [4]

In any case, the song has withstood the test of time and the lyrics continue to present a fractured story of mixed emotion that remain relevant to any person's situation. 

Common Threads

What are the common musical threads no.1 hit songs share?  In each round of analyses, I try to answer this question by observing like musical elements and investigating their presence in other songs.  In this round, "on the 3's," I have been compiling an amending a list of musical elements present in each song.  Adding "Every Breath You Take" into the mix, let's see what elements endure. 

Repetitive Melody - This melody capitalizes on repeated themes from beginning to end.  Each verse has a repetitive structure whose elements are further developed, and repeated, in other sections.

Polytonal Melody - Melody Utilizes Chord Tones - There are many chord tones throughout the melody.  Small note groupings and the added 9th to many chords really helps to check this box. 

Single Repeated Chord Sequence - Two Harmonic Sequences - The verse, chorus, bridge and outro constitute 4 distinct chord sequences.  Three of them are very similar, but they are altered just enough to make them feel different.  

Multi-layered Percussive Accompaniment - Stewart Copeland's drum part is notoriously simple in this one.  

Features Rap/Spoken Vocal - Sting's few quasi spoken lines don't count.... 

Melodic Bass Line - I haven't mentioned the bass line, but it is very straightforward.  Sting lays down an 8th note pulse following the chord tones.  According to the Sound On Sound article, he overdubbed the bass track with several different basses, including an electric upright, a sure tie in to the acoustic upright bass he plays in the music video. [2]

Vocal Harmony - It doesn't happen until the end, but it becomes a fairly important part. 

Non-Linear Form - I'm up in the air on this element.  I think the 10 measure bridge section helps the cause.  Also, the way the melody sits on the changes can give the appearance that the sections are not always what they seem.    

Chord Count: 7 - Amaj9, F#min9, Dadd9, Eadd9, Cadd9, Fmaj7#11, G - a surprising amount of chords for a song with 4 distinct harmonic progressions.  

4/8 common threads with the other songs "on the 3's."  When I recap all the songs in the round, I think this one will fit in nicely with the other songs, especially when looking at chord progressions, melodic elements and form.  

Final Takeaways

I like this song quite a bit.  I never remember being drawn to it but always heard the "rumors" about the true meaning of the lyrics.  With fresh ears, there are a lot of great things happening.  Notably, the guitar arpeggio is such a cool part.  It's addictively fun to play and provides a great texture that carries the song, in spite of the simplified bass and drum parts. 

Tom Breihan, author of "The Number Ones," made a great point about this song's true popularity.  Puff Daddy's 1997 remake, "I'll Be Missing You," went to no.1 for 11 weeks.  It utilizes, more or less, the same melody as The Police's original.  If you add the total weeks spent at no.1, the melody goes for 19 non-consecutive weeks.  That ties the all time record with 2019's "Old Town Road."  Cool stat Tom! [4]

Up next time, we go deeper "on the 3's," going back to my favorite decade, 1973!  Keeping in theme with the first week of August, we get a short 2 week reign at no.1 from an artist I know nothing about!

August 4th - August 11th, 1973: "The Morning After" by Maureen McGovern makes it 2 weeks at number 1 on the Billboard Hot 100!  Stay tuned!

[1]https://ig.ft.com/life-of-a-song/every-breath-you-take.html

[2]https://www.soundonsound.com/techniques/classic-tracks-police-every-breath-you-take

[3]https://www.sting.com/news/title/revolver

[4]https://www.stereogum.com/2091640/the-number-ones-the-polices-every-breath-you-take/franchises/columns/the-number-ones/

"Can't Help Falling In Love" (from "Sliver") - UB40, 1993

Chances are you don't remember the plot of the movie "Sliver," starring Sharon Stone, William Baldwin and Tom Berenger.  You do, however, probably remember the song "Can't Help Falling In Love With You."  What lineage....a French love song, "Plaisir D'Amour," composed by a German composer, Jean-Paul Egide Martini (!?!?) in 1784, rewritten in 1961 by George Weiss and company ("Lion Sleeps Tonight," "What A Wonderful World") and recorded by Elvis Presley, only to make it to no.2 on the Billboard Hot 100 in February of 1962.  [1]

Fast forward to 1993.  On the heels of many other popular versions of the tune, UB40's pop-reggae version climbs to no.1 in the U.S., the British group's second no.1.  [2]  The path of this song's no.1 journey is interesting and is reflected in the musical analysis.  This is the oldest source material I can recall appearing on the Hot 100.  George Weiss, a master songsmith, brings this melody to life in an accessible way for pop audiences.   

July 24th - September 4th, 1993: "Can't Help Falling In Love" by UB40 lasts 7 weeks at no.1!  

The form to this song is very peculiar, in terms of standard pop music forms.  The intro is really a statement of the "verse" and "chorus," or A and B.  We get an 8 measure verse with vocals and organ laying down the chords.  We then get an instrumental statement of the 5 measure "chorus."

The "verse" and "chorus" don't quite feel like traditional because each verse contains the lyrical refrain: "I can't help falling in love with you."  The verse is better labeled as an A section and is the primary repeated motif throughout the tune.  The "chorus" is only labeled as such due to repeated lyrics.  It fills the role of a B section, or contrast to the A section.  There is no bridge, so this section almost pulls double duty as repeated "chorus" material as well as the bridge like function, contrasting the A section.

This B section is also an unusual 5 measures long.  It doesn't sound out of place though and the chord resolutions feel natural.  

The final measures tag the refrain and then fade out.  The repetition of the hook to close out the song helps give the song a classic shape, even if the other sections fall outside of that shape earlier in the song.  

Chord Progressions

George Weiss successfully took an antique melody and gave it a makeover with contemporary harmony.  

The intro outlines a straightforward chord progression:

D  A / D  A / G  D / A   / G  A / D  G / D  A  / D
I    V/  I  V/ IV  I / V   /  IV V/  I  IV / I   V  / I 

Lots of I-V resolutions with plenty subdominant color added in.  

When we get into the verse, the bass line colors this progression up a bit more:

Verse - Bass Line

Aside from all the slash chords, the only real change is an E minor replacing the G.   Subbing out a vi for a IV is common sub. I do love this bass line.  It is a solid example of the reggae style and features some great root motion through the slash chords.  

The bassline is accompanied by several layers that fill out the harmony.  Synthy pads lay out the chords over the top while the piano/guitar plays a classic reggae upbeats rhythm pattern.

Chord Rhythm

The chorus takes the standard progression and swerves quite a bit.

F#min  B / F#min  B / F#min   B / Emin11/A / G  A7
iii    VI   /  iii        VI/   iii       VI / ii               / IV  V

The motion from iii to VI gives this section a completely different feel, taking us out of the diatonic realm by one note (D#).  The turnaround back to D blurs the tonality with the Emin11/A.  The chords chunk out Emin while the horns add in A, B and D, over the bass A.  

To further intensify this, the bassline plays C# over the F#min chord and changes the rhythmic approach, adding in these syncopated drops in the first three measures.  In the last two bars, more consistent rhythm propels things right back into the verse.   

Chorus - Bass Line

The tag ends the song on the last 4 bars of the verse.  

Melody

When I first listened to the tune, I remember thinking "this should be a fairly cut and dry melody transcription."  Man, was I wrong.  The pitches were mostly easy to pin down, but the rhythm presented a real challenge.  Ali Campbell's vocal delivery is so loose and relaxed that he is often way behind the beat.  This causes off beat syncopation to come off as triplets, further confused by the fact that he sings purposeful triplets some of the time.  

We get a feel for this right at the top with the organ and voice duet:

Intro (Verse) - meas. 1-8

The entire melody features chord tones, except for bar 6.  This is the bar that becomes E minor after the band kicks in, pronounced by the bass.  E minor and G, of course, are basically the same chord.  Without the bass though, it feels like a G here in the intro.

Ali Campbell seems to be a fan of the whole step above resolving to chord tone, which happens 3 times (meas. 2 3, and 7).  

During the following verses, the melody is harmonized. The harmony jumps around a bit, covering a 3rd higher, then a 4th, then moving in parallel 5ths.  The differing timbres and intervals result in a pleasant sound filled with character.  A cool ornament happens in measure 5, another example of the rhythmic fluidity the singers wade through. 

Verse 2

The final verse before the tag has a stuttered vocal figure that may or may not have been purposeful.  Either way, it varies the repetitive verse and helps makes the last, repeated verse feel slightly different.

Verse 3, second time, meas. 1-4

The chorus melody, like the chord progression, takes a wide left turn and we get some completely different conventions.

Chorus Melody with Horns

The rhythm is very choppy on the 16th upbeats, outlining an F# min arpeggio, 5th-R-3rd-5th, with the C# resolving to the root of the next chord tone, B.  The phrase is repeated three times, pushing the momentum forward until the last two bars where things slow down and the cadence evens out and resolves back to D.  The feel here is very relaxed and behind the beat, blurring the rhythm a little bit.  This is particularly strong in the penultimate bar.  The three eighth notes almost feel like a triplet across the bar line, with "be" arriving just after beat 1.  It's completely innocent when listening causally, but proved a head scratcher for me when transcribing.  

The bottom staff, above, represents the horns.  Aside from bars 4 and 5 in the intro statement, this is the first prominent horn feature.  In bars 1-3, we hear similar figures on (3)+ that outline F# min with varying intervals.  The last two measures feature some great arranging with overlapping parts hitting all the signposts of the Emin11 chord.  The rhythm here shifts to being on the beat, another trick to help masque the 5 bar phrase with a clean resolution.  

The horns come back hard in the tagged ending.  Here, they borrow a riff from bass line and deliver some fast staccato double tongue action:

Tag Ending - Melody and Horns

The horns certainly fill up the space left by the vocals.  The thirty second note figure almost answers the triplet vocal melody in fast succession.  They stay on the A, holding back the D major resting place until the next bar.  There, they double the bass line.  After hearing that bass line throughout the entire tune, it sounds natural when the horns double it, even though the line is very busy and highly syncopated.  It ends the tune in grand fashion as it fades out.  

Lyrics

"Can't Help Falling In Love" is high up on the list of greatest love songs.  The lyrics, however, may not as be sweet as you think.  

"Wise men say, only fools rush in

But I can't help falling in love with you"

The narrator is admitting his own stupidity by his inability to stay away from the antagonist love interest.  In the second verse, he even questions his motives, asking "shall I stay, would it be a sin?"  It certainly makes me wonder what else this guy has going on his love life.....

The chorus doesn't give away the resolution to this guy's struggles:

"As the river flows gently to the sea

darling so it goes

Some things were meant to be" 

The river flows to the sea and then disappears?  The river flows into the sea and they become one?  The fate of the protagonist is unclear.  Thanks to the Words And Music And Stories blog for bringing some of these points to light.....it will certainly help me think twice about this song the next time I hear it at a wedding. [3]  

Aside from the mixed messages, the rhyme scheme is non existent.  In the verse, none of the lines rhyme.  Instead, there is some vowel consonance on "wise" and "I," and not as lined up with "fool" and "you."  Coincidentally, the first and second verses have the same vowel construction with "say" and "stay," and "in" and "sin."  The third verse does not follow suit.  

The chorus follows an ABAB rhyme scheme with: "flows; sea" and "goes; be."  

It is a little surprising how few lyrics there actually are.  Excluding the tag, there are 131 syllables in the main body of "Can't Help Falling In Love.".  34% of them are made up of "I can't help falling in love with you."  If you take the repeated tag into consideration, that goes up considerably.  It's amazing that more than 1/3 of the entire lyrical content is the hook.

Common Threads

What are the common musical threads no.1 hit songs share?  In each round of analyses, I try to answer this question by observing like musical elements and investigating their presence in other songs.  So far  this round, "on the 3's," I have analyzed 2013's "Blurred Lines" and 2003's "Crazy In Love."  Will UB40 amend the list with their 1993 contribution?  

Repetitive Melody - Absolutely.  The refrain checks this box in bold.

Polytonal Melody - Melody Utilizes Chord Tones - Unlike the previous hits "on the 3's," this one relies on chord tones.  There is that E min bar where this facet could be challenged, but the rest of the song sticks to chord tones.

Single Repeated Chord Sequence - Two Harmonic Sequences - another song with only two differing chord sequences.  

Multi-layered Percussive Accompaniment - The drums are just kind of "there."

Features Rap/Spoken Vocal - I suspected as we got deeper into the timeline this element would disappear. 

Melodic Bass Line - I love this bass line.  It's not only melodic but percussive as well, almost filling that mutli-layered percussion element all on its own.

Vocal Harmony - Indeed.  I like how the harmony in this one doesn't follow the same intervallic route but jumps around a little bit to create some interest. 

Non-Linear Form - The 5 measure chorus qualifies this category.  I'm still feeling this element out, but "Can't Help Falling In Love's" form gives it a little credence.  

Chord Count - 7 - D, A, G, Emin, F#min, B and Emin11.  The function of the Emin11 (chorus) is different than the Emin in the verse, so I felt it should be counted twice.

5/8 shared elements with "Crazy In Love," which is a surprising stat, considering how different the two songs really are.  The elements that stick out to me are melodic bass line, vocal harmony and non-linear form.  Repetitive melody, as I have noted in every song before this, is either a gimme or a hard requirement for no.1 songs.  The other elements are less prevalent, but happen to be shared by every tune "On the 3's" so far.

Final Takeaways

 When this song came out in 1993, I remember despising it.  Granted, I was just starting out on a lifelong obsession with heavy metal, in particular, Megadeth.  In my early days of watching MTV, I remember watching this video and desperately hoping for something with more edge to follow.  With fresh ears, I like this song quite a bit.  

I read one review that slammed the production and it seems UB40, in general, gets a bad rep as "reggae light," which on its face, shouldn't be a criticism.  Every musical genre has extremes and though the pop elements of UB40 add to that misconception, the bass line in this song alone will quickly challenge that assertion.  I think the band did a great job at bringing out the charm and simplicity of the melody while adding their own voice to it.  Obviously someone agrees, or I wouldn't be talking about it.  7 weeks is a strong showing for any song to last at no.1    

Up next time, "on the 3's" rolls on with a stop in 1983.  July 9th - August 27th, 1983.  8 weeks at no.1...."Every Breath You Take" by The Police dominates the no.1 position on the Billboard Hot 100.  Awesome.  I am a big admirer of The Police and Sting, in particular.  I also know this song made a resurgence in the 2000's.  This should be a fun one.  Stay tuned!  

[1]https://www.songfacts.com/facts/elvis-presley/cant-help-falling-in-love   

[2]https://ig.ft.com/life-of-a-song/can't-help-falling-in-love.html

[3]https://wordsmusicandstories.wordpress.com/2019/03/27/cant-help-falling-in-love-2-analysis/

"Crazy In Love" - Beyoncé featuring Jay-Z, 2003

 This is the third time Beyoncé has appeared in this project.  (Check out 2020's "Savage" and 2001's "Bootylicious")  If a random sampling of no.1 songs has her popping up thrice, you know she has to be a serious player.  Ans today's subject simply adds fuel to that fire.  2003's "Crazy In Love" is considered one of the greatest pop songs ever written.....at least in this millennium.  Hopefully, this analysis can shed a little light as to why.

"Crazy In Love" comes from Beyoncé's debut solo record.  It incorporates a few musical styles into one slick pop package.  It has won Grammys, topped charts and has earworms that, to this day, permeate dance floors and festive gatherings. [1] If my own highly biased opinion means anything to anyone, I rather enjoy this song.  It literally has a little bit of something for everyone.  Let's get in the weeds and see why this song is regarded so highly.

June 22nd - September 7th, 2003: "Crazy In Love" by Beyoncé, featuring Jay-Z, cements itself as a SCC with an 8 week run at no.1!

One thing that stands out right away is the form.  Going by the numbers, there's a little bit of quirk happening right up front.  The intro, comprised of the horn line, sampled from 1970's "Are You My Woman (Tell Me So)" by The Chi-Lites, [2] happens 3x times, is interrupted with a vocal hook, and then returns for one more 2 measure refrain.

The total length of the intro is 12 bars, but the arrangement of 6-4-2 is unusually asymmetrical.  After that, things even out and we get an 8 measure verse, an 8 measure chorus and a return to the 4 measure vocal hook.  The cycle then starts again, until....

The second statement of the chorus is 10 measures long, which is 2 measures longer than you would expect.  It's a cool little twist that brings in Jay-Z and his 3rd verse rap.  This verse is another great example of unusual grouping.  He raps for 8 measures on the verse feel. Then, there is a 2 measure interruption on the chorus changes.  It gets back to the verse feel for 8 more measures.  18 measures is a long time to rap for and thanks to that interruption, Jay-Z has no problem holding your attention.

Out of the rap, we get to the bridge.  This might be my favorite part of the song and features some ridiculous vocal arranging.  And, once again, the section clocks in at an unexpected number of measures.  We get 6 measures of the chorus changes followed by 4 measures of the verse change.  I love the way the horn sample (chorus) is chopped up into these uneven groupings, much like the original, where it used sporadically.  

The songs ends in somewhat predictable fashion, a double chorus followed by the horn riff fading out.  In terms of the form, this is how the songs elevates itself into the upper echelon of pop genius.  It has predictable elements (4 measure phrases) presented in an unexpected way.  Great stuff!

Chord Progressions

With so much going on in the form, it's not surprising that there are only a few changes happening.  The primary change, built on the sample, happens in the intro and choruses, with appearances in the bridge and rap.  It is driven by the horn line with a pulsing bass line underneath.

Horn Line with Bass

If you focus on this 2 measure riff alone, it doesn't really indicate a clear key center.  You might think Bb, indicating I-VI, which wouldn't be completely out of the question as far pop harmony is concerned.  I saw one analysis that called G7 the I chord, which also wouldn't be out of the question. [3]  This doesn't become clear until it finally resolves during the vocal hook:  Dmin/F.

The D minor chord, with an F in the bass, is the true feeling of home and puts the tune in the key of D minor.  With those parameters more clear, the opening chord change plays out to be:

Bb    /    G7    
bVI /    IV

While each of these chords are common in minor tonalities, they are not usually found back to back and as the primary pillars of the harmony.  The end result is a unique sound that, with the horns, helps this song stand out.  

While we're at it, the horn melody uses (almost) the same figure on both of the chords, a D minor scale over Bb and a D alt scale on G7, only going as high as the 5th of D.

Once the Dmin/F chord arrives, we hear another element of The Chi-Lites sample, a slamming drum part with a moving conga line:

Drums and Percussion

  As the song progresses, this part undergoes some variation, but this represents the foundation.  A solid 2/4 snare part with subtle bass drum hits lie perfectly underneath the 16th note conga assault.  It also contributes to the multiple flavors of musical style, another aspect that certainly sets the tune apart.  It's funky, it's poppy, it's rappy, it's Latin, it's Beyoncé, it's a damn good tune!

Melody

"Crazy In Love" features so many hooks and cool melodies that it's slightly mind boggling.  I will admit, I did not tackle every one, but tried to cover the most important ones.  The first vocal melody comes in the "hook."

Hook

 We see alternating motion from root to 5th.  The second time it gets repeated, the A gets bumped up to Bb and back, a hint at the opening harmony.  Super cool stuff.

Beyoncé's first verse starts low in her range, confirming the tonal center of D minor.  For the first 4 measures, she only touches on D, C and E, root, minor 7 and 2 of the key, all of which mostly resolve to D.  This line would also be R-2-3 in C major.  C major over D minor?  In the second 4 measures, she ventures up to G, quickly working her way down the scale to C.  The result is a C/D sound that is still D minor, but flavored to sound just outside of the tonality. 

Verse 1

Rhythmically, the phrases are similar and use 8th and 16th note syncopation.  Verse 2 follows suit with a few variations, but basically lives in the same space.

The chorus picks up with similar rhythm and syncopation, shifting the pitch up to F.  Here, the pitch moves between F, D and G, shared chord tones of Bb and G7 (save G on the Bb).  In measures 2 and 3, we get a background melody that uses C and A, min7 and 5th of Dminor.  This could also indicate C pentatonic.  Mixed in the arrangement, they don't sound "off," but provide a great color to the whole package.

Chorus - meas. 1-4

The second half of the chorus kicks things up another notch with some added harmony to Beyoncé's lines:

Chorus - meas.5-8

Added to the previous melodic theme are higher harmonies on the A note, established with the previous background vocal part.  It also creates some cool intervals over the moving melody notes.  In the last two measures, Beyoncé shifts up to a G and we get a Gminor chord in the vocal harmony.  This sounds especially cool over the G7 horn part, which eventually resolves to a G9.  Once again, it's all about the subtle color of the melody against the harmony.  

In the second chorus, there are some additional background lines that continue to add shades of brilliance.  Check out Beyoncé's contributions to the 10 measure chorus 2:

Chorus 2 extras

The triplet figure outlining a G7alt is totally hip.  Her next run, a D minor pentatonic thing, resolves on G, once again bringing in that color over the Bb chord.  She then goes completely high in her range, hitting F-D, firmly reestablishing the D minor tonality.  In the extra two measures she harmonizes up a 4th from the melody note, again touching on a new color, hinting at Dmin7, or even C7/G when you account for the other harmonies that are there.

The third chorus is filled with more stuff just like this, featuring B lay down some serious vocal work and color these harmonies with all the shades you don't expect.  

Jay-Z's third verse comes at the perfect time, acting almost like a bridge, giving us a few seconds to recover from the impressive vocals we just heard.  He starts by introducing not only a rhythmic theme, but a call back to the hook from earlier in the tune.

Verse 3 - meas.1-8

 Measures 1-4 use the same rhythm and then depart to more adventuresome syncopation in measures 5-8.  Jay-Z's flow is definitely unique.  He is way behind the beat, often entering just a 16th note after the downbeat.  His delivery is tonal, but maintains a spoken character.  He is also good at creating temporary rhythmic displacement, like in measure 6 when he sprinkles in the triplet feel.  He knows just when to vary the pitch to keep the momentum going forward and make his cadences seem logical.

Measures 9-10 are the return to the horn line and he uses that feel change to change up his flow the second half.  His new theme comes in measure 11.  Here we see a new rhythmic pattern plus new pitches.  

Verse 3 - meas.9-18

 He briefly returns to his initial feel in measures 13-14 which ties things together.  The last four measures are the most different, and actually take me out of the rap a little bit. He reverts to mostly speaking and again returns to shades of the triplet feel.  After that, it's several 16th note assaults as he places his finishing blows.  This rap sort of cleans the harmonic slate we have been given and just punches you in the face with rhythm.  It is the perfect contrast for what comes next, the bridge.

Beyoncé returns with a 4 note melody; D, A. G and F.  Like the verses and chorus, she keeps her phrases similar in rhythm and pitch.  We do get some added harmony, once again resulting in some close intervals and decided G7 chords.  Measure 6 ventures the furthest away with a run that moves C-G, a similar harmony to the very end of chorus 2.      

Bridge - meas.1-6

After 6 measures of the bridge melody over the horn riff, the harmony slams on the D minor feel from the verse.  Here, we get the climax of the tune and some KILLER vocal arranging.

Bridge - meas.7-10 +1

The melody clearly moves to D minor with full harmony supporting the chord.  Similar syncopation and repeated phrases make the part flow naturally and the drama of the stop rhythm just makes this section so powerful.  

In the last measure of the bridge, we get a countermelody that directly borrows from the vocal hook from way back when.  That lies underneath Beyoncé once again hitting the high F, this time descending to D through the E, emphasizing D minor once more.

 The final chorus goes on to include many more melismatic adventures that lead the tune off into the sunset.  The bridge, though, is definitely the climax and highlight of the song.

Lyrics

 Many songs lose it for me in the lyrics department.  While "Crazy In Love's" lyrics are not groundbreaking or transcendent, they are fun and filled with lots of Easter eggs.

Beyoncé's verses are standard fare, offering rhyming couplets where she admits and partially questions her infatuation with the song's protagonist.

The choruses repeat the hook twice and then subtly alter it.  There's even a nostalgic reference of "got me hoping you'll page me right now."  The words are fun to say in succession, an intangible "it" factor of good lyrics.  The statement "got me looking so crazy right now" is intriguing on its own and when put in the frame of reference with another's love, it takes on a new dimension.  

Jay-Z's rap is filled with references.  He drops several self references ("Hova," "R.O.C." and "Big Homie") and affirms his credibility with comparisons to other heavyweights, like Tony Soprano.  The Lyric Genius page will explain all of it better than I can.  It's an entertaining read!   

The bridge is not only the musical climax of the song, but is the lyrical turning point as well.  Here, Beyoncé gives up on questioning the infatuation and just lets it all hang out:

And baby you're making a fool of me

You got me sprung and I don't care who sees

When we get back to the final chorus, we know it's too late for her and she is totally "Crazy In Love."

Common Threads

What are the common musical threads no.1 hit songs share?  In each round of analyses, I try to answer this question by observing like musical elements and investigating their presence in other songs.  In this round, "on the 3's," I have started somewhat fresh, using my last analyses, "Blurred Lines," as the starting point.  Using those common threads, let's see what "Crazy In Love" adds or subtracts to the mix.

Repetitive Melody - There is so much repetition happening here.  We see repeated pitches, rhythms, phrases and counter melodies.  Many sections include references to previous parts of the song.  

Polytonal Melody - the melody definitely ventures outside of pure Dminor.  This is partially due to non-diatonic chords, but the verses are both Dminor and C major.  

Single Repeated Chord Sequence - Two Harmonic Sequences - There are two prominent harmony sections: the horn riff and the verse riff.

Multi-layered Percussive Accompaniment - Congas float over the top during the verses.

Features Rap/Spoken Vocal - My first Jay-Z transcription!  I am a fan so far.

Melodic Bass Line - The bass plays three notes in the entire song :(  

Vocal Harmony - With a bullet!  I may possibly even add in Vocal Countermelodies 

Non-Linear Form - I'm not sure how I want to word this one, but it's worth mentioning the form has some stats you may not expect. There are some groupings outside the standard 4, 8 or 12 count.  

Chord Count - 3 - Bb, G7 and Dmin/F - not an unusual number for chords, but unique in that these three chords are displaced over two different sequences.

Final Takeaways

"Crazy In Love" stands the test of time.  It is a damn good pop tune.  It has non-diatonic harmony that is approachable and funky as hell.  It has melody that stretches the limits of our ear and adds colors you don't normally see in pop music.  It also has all the elements you expect to hear in pop music from repeated lines, powerful vocals and lyrics that you can relate with.  

I have played this song for years in various bands.  I never minded it, even when I was in the throws of rejecting popular music.  There is something about it that I always liked, even though the bass line I was playing was just about as simple as it gets.  Maybe it's because the song is clearly minor, but it doesn't feel minor?  It's poppy but funky?  It's predictable but edgy?  In any case, this is a keeper for me and I'm sure I will encounter Beyoncé in this project again!

Up next time, continuing "on the 3's," we head to 1993.  July 24th - September 4th, 1993.  "Can't Help Falling In Love" by UB40 goes on a 7 week rampage at no.1.  I remember hating this song back in the day and I am confident I will find some musical value in it almost 30 years later.  Let the reggaetone take effect!

[1]https://www.nme.com/blogs/nme-blogs/beyonce-crazy-in-love-best-song-why-2316762  

[2]https://www.whosampled.com/Chi-Lites/Are-You-My-Woman%3F-(Tell-Me-So)/ 

[3]https://www.hooktheory.com/theorytab/view/beyonce/crazy-in-love-ft-jay-z