August 12, 1978: "Three Times A Lady" by the Commodores climbs its way to no.1!
I was not familiar with this tune, though I'm sure I would have heard it at some point in my life. As I gave it a quick first listen, I was not enthused. I generally don't like ballads or anything that comes close to "sappy love song." Once I took it apart and got a close look at the inner workings though, I converted pretty fast. This song is a beast, with a lovely sentiment and beautiful performance that still holds up 40 years later.
*There are two versions of this song. The album version runs a lengthy (for a pop song) 6:36! The 7" single, which I assume was played on the radio at the time, is a much trimmer 3:36. For this analysis, I will be focusing on the shorter, single version. Though when comparing, the difference comes in the form, which I will touch upon throughout the analysis.
I have played in a variety of wedding bands for almost 20 years. I can't recall ever once performing this song. To me, it screams wedding: sentimental lyrics, sentimental vocal performance, orchestral arrangements, a timeless feel, slow dance central!?!?!
As a radio hit though, I'm slightly perplexed as to how this song became so popular. Perhaps it stood out like a diamond in the rough among the other disco "gems" permeating the air waves (Donna Summer and Andy Gibb had been staples in the top 10 in this time). It's also a waltz, the ugly duckling of the pop music meter flock.
The form of the single version is unique to say the least, both in sections and their length. A single 17 measure long verse and an 18 measure long chorus are statistically rare. The Bridge, which starts with a 16 measure vocal melody over the interlude chord progression (more on that later), goes through a few sections with solos and some cool vocal arranging. The final chorus is the first 8 and the last 4 of the initial chorus presentation. This only made sense to me after listening to the album version, where the form plays out like this:
I(4) - V1(17) - C(18) - Interlude(8) - V2(17) - C(18) - Interlude(8) - B(16) - B'(16) - B''(9) - C(10) - C(8) - C(11)
(cute touch repeating the last chorus 3 times...)
Verse - Chords and Melody
Descending bass lines is the name of the game in this tune. The verse features the bass walking down from Ab to Gb then chromatically down E, a sound that gives off a very different vibe without the chord tones on top.
Theoretically speaking, this progression is outside of common pop formulas. I/ I7 / vi / III+7. Usually, the C7+ would act as a dominant, resolving to Fmin, direct from F harmonic minor. Both G#(Ab) and C are shared chord tones with Abmaj and in a vacuum, E resolves down to Eb and Bb resolves to Ab or C comfortably. Either way, it works without upsetting the ear and in the context of the repetitive verse.
The melody in the verse hangs out on a C note before moving to an Ab and Bb, covering the 3rd and 7th of the accompanying chords. We also see a Db (sus4) as a tonal aside, over the Ab/Gb chord which creates a nice suspension before resolving to Ab. Most of the phrases start on 3+, jumping up a 6th from Eb to C. Rhythmically, the phrases settle on or near beat 1, pushing off in the tail end of the measure. Aside from that, there is some nice ascending and descending step-wise motion. The verse ends with the sustained Ab, the 3rd and #5 of the accompanying chords before we get the build up into the chorus.
As a radio hit though, I'm slightly perplexed as to how this song became so popular. Perhaps it stood out like a diamond in the rough among the other disco "gems" permeating the air waves (Donna Summer and Andy Gibb had been staples in the top 10 in this time). It's also a waltz, the ugly duckling of the pop music meter flock.
The form of the single version is unique to say the least, both in sections and their length. A single 17 measure long verse and an 18 measure long chorus are statistically rare. The Bridge, which starts with a 16 measure vocal melody over the interlude chord progression (more on that later), goes through a few sections with solos and some cool vocal arranging. The final chorus is the first 8 and the last 4 of the initial chorus presentation. This only made sense to me after listening to the album version, where the form plays out like this:
I(4) - V1(17) - C(18) - Interlude(8) - V2(17) - C(18) - Interlude(8) - B(16) - B'(16) - B''(9) - C(10) - C(8) - C(11)
(cute touch repeating the last chorus 3 times...)
Verse - Chords and Melody
Descending bass lines is the name of the game in this tune. The verse features the bass walking down from Ab to Gb then chromatically down E, a sound that gives off a very different vibe without the chord tones on top.
Theoretically speaking, this progression is outside of common pop formulas. I/ I7 / vi / III+7. Usually, the C7+ would act as a dominant, resolving to Fmin, direct from F harmonic minor. Both G#(Ab) and C are shared chord tones with Abmaj and in a vacuum, E resolves down to Eb and Bb resolves to Ab or C comfortably. Either way, it works without upsetting the ear and in the context of the repetitive verse.
The melody in the verse hangs out on a C note before moving to an Ab and Bb, covering the 3rd and 7th of the accompanying chords. We also see a Db (sus4) as a tonal aside, over the Ab/Gb chord which creates a nice suspension before resolving to Ab. Most of the phrases start on 3+, jumping up a 6th from Eb to C. Rhythmically, the phrases settle on or near beat 1, pushing off in the tail end of the measure. Aside from that, there is some nice ascending and descending step-wise motion. The verse ends with the sustained Ab, the 3rd and #5 of the accompanying chords before we get the build up into the chorus.
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| Verse 1 |
Chorus Chords and Melody
The chord progression in the chorus sees the bass line goes full chromatic, descending from Ab - G - Gb - F. The chords over the top tell a very different story - I / V / bVII / IV / ii / I / V / V. This is much closer to conventional progressions, covering all the usual suspects of I, IV and V, as well as bVII. The last 4 measures of the chorus again return to the descending bass line, this time diatonically moving from Eb down to Ab (V to I). The strong motion back to the tonal center of the song really helps the extra bars feel natural within the phrasing.
The melody here, like the verse, hangs out on C, eventually resolving on Ab for the first 4 bars, this time covering the 3rd, 6th and resolving on the 5th of the accompanying chords. We then get some lovely pentatonic vocal flourishes on "I love you," resolving on a Bb, or 5th of the chord. This first "I love you" features the largest interval leap in the song, the anchoring Eb up to the Db, a minor 7th.
One of the strongest hooks, the 2nd "three times a lady," gets up to the highest note in the song (Eb) resolving to Ab, covering the 6th, sus2 and resolving on the 5th of the accompanying chords. The second "I love you" makes its way back up to Eb (5th of Ab) and then to Bb (5th of Eb) before we get the sweet pentatonic flourish eventually landing back to Ab. Whew....
There is lots of stepwise motion in between all of that, in the key of Ab, which keeps everything unified amidst some of the riskier chords and odd phrasing...very jazzy Lionel. It is worth mentioning that Lionel Richie admitted he did not read or write music in a traditional sense and when he realized he didn't need to, it freed him up creatively and let him not worry about breaking the rules[1]. The result is a very unique sound that stays traditional in one sense (diatonic melody) but also pushes some boundaries (chord progression, chromatic bass line and phrasing).
The chord progression in the chorus sees the bass line goes full chromatic, descending from Ab - G - Gb - F. The chords over the top tell a very different story - I / V / bVII / IV / ii / I / V / V. This is much closer to conventional progressions, covering all the usual suspects of I, IV and V, as well as bVII. The last 4 measures of the chorus again return to the descending bass line, this time diatonically moving from Eb down to Ab (V to I). The strong motion back to the tonal center of the song really helps the extra bars feel natural within the phrasing.
The melody here, like the verse, hangs out on C, eventually resolving on Ab for the first 4 bars, this time covering the 3rd, 6th and resolving on the 5th of the accompanying chords. We then get some lovely pentatonic vocal flourishes on "I love you," resolving on a Bb, or 5th of the chord. This first "I love you" features the largest interval leap in the song, the anchoring Eb up to the Db, a minor 7th.
One of the strongest hooks, the 2nd "three times a lady," gets up to the highest note in the song (Eb) resolving to Ab, covering the 6th, sus2 and resolving on the 5th of the accompanying chords. The second "I love you" makes its way back up to Eb (5th of Ab) and then to Bb (5th of Eb) before we get the sweet pentatonic flourish eventually landing back to Ab. Whew....
There is lots of stepwise motion in between all of that, in the key of Ab, which keeps everything unified amidst some of the riskier chords and odd phrasing...very jazzy Lionel. It is worth mentioning that Lionel Richie admitted he did not read or write music in a traditional sense and when he realized he didn't need to, it freed him up creatively and let him not worry about breaking the rules[1]. The result is a very unique sound that stays traditional in one sense (diatonic melody) but also pushes some boundaries (chord progression, chromatic bass line and phrasing).
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| Chorus |
Bridge Chords and Melody
And now things get interesting! A 4 bar interlude sets up a new chord progression that leads to a bridge, which can easily be mistaken for a second verse when listening to the short version of the song. Now, the bass takes on a completely different role, pedaling on the Ab while the chords change above it, eventually making its way to the Eb (V) to get back to Ab. This creates a very different character than all of the previous descending motion. Harmonically on top, we see some (mostly) familiar territory with I / Vsus / IV / V7sus, with the V chords being in different inversions each time.
The melody returns to C and slowly works its way down to Bb, finally landing on Eb. Interval to interval, we hear 3rds, 6ths and roots. Like the verse, there is lots of diatonic stepwise motion. He also leaps down a 5th a few times from Bb to Eb, landing on the root for those warm fuzzies. Rhythmically, this melody functions a lot like the verse, entering on 3+ and settling on beat 1. The very end of this melody features another pentatonic flourish on the word "apart." I would imagine this diva-esque lick influenced a lot of singers we might be seeing in another decade or so.
And now things get interesting! A 4 bar interlude sets up a new chord progression that leads to a bridge, which can easily be mistaken for a second verse when listening to the short version of the song. Now, the bass takes on a completely different role, pedaling on the Ab while the chords change above it, eventually making its way to the Eb (V) to get back to Ab. This creates a very different character than all of the previous descending motion. Harmonically on top, we see some (mostly) familiar territory with I / Vsus / IV / V7sus, with the V chords being in different inversions each time.
The melody returns to C and slowly works its way down to Bb, finally landing on Eb. Interval to interval, we hear 3rds, 6ths and roots. Like the verse, there is lots of diatonic stepwise motion. He also leaps down a 5th a few times from Bb to Eb, landing on the root for those warm fuzzies. Rhythmically, this melody functions a lot like the verse, entering on 3+ and settling on beat 1. The very end of this melody features another pentatonic flourish on the word "apart." I would imagine this diva-esque lick influenced a lot of singers we might be seeing in another decade or so.
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| Bridge Melody (B) |
Musical Sticking Points
I went into this analysis sort of dreading the journey ahead. The song is long, it's slow, there's a ton of stuff happening on both the melodic and harmonic level and I wasn't that very familiar with it. As I went through my day, however, I found myself spontaneously busting out the chorus tagline of "once, twice..." I would think the repeated notes and stepwise diatonic motion resolving on the tonal center help solidify that as the memorable hook. The rhythmic space also helps, which is different each time. Or maybe we are all precondition to enjoy songs that feature counting, cemented in our subconscious from early childhood?The other unifying factor is the strong pull to the tonal center of Ab. Even when the chords venture to new and exciting places, they always come back to I, so you never go too far from home. Combine this with some comfortable melodic choices (3rds, 5ths and roots), all diatonic, and the whole tune gels together without a second thought from most casual listeners.
Lyrics
These lyrics are universal in their applicability as a tribute to any important woman in your life. Lionel reportedly heard his dad speak fondly of his mother, calling her a "great lady, great mother and great friend." This sentiment inspired him to write the song. The whole song has a sweet and simple message that can express a range of feelings towards that special lady in anyone's life.
Common Threads
Last time, I compiled a list of common elements found in "Hello, I Love You"(1968) and "Poor Little Fool" (1958). Will these be applicable to 1978's "Three Times A Lady?"
- melodies utilize and resolve to chord roots - check - I would add this song hangs out more on the third and explores the 6th quite a bit, as well as the 5th in the bridge.
- verses employ similar rhythmic themes -starting on or just after beat 4, 4 quarter notes, syncopation near beat 2 - check* The single version only features 1 verse.....however the full length version does have a second verse that uses similar rhythmic themes as the first. The bridge vocal contains verse-like melodic rhythms. This song is a waltz, so there are only 3 beats in each measure. There are instances of starting vocal phrases on the upbeat of the last beat of the previous bar with syncopation happening on the weaker beats in the following measure.
- lyrics about love - CHECK
- repetitive chord sequences - check* Harmonically, this song is in a different time zone than Ricky Nelson or the Doors. But it's the repetition that doesn't alienate the listener. The verse is the same 4 chords repeats and the chorus, while moving around quite a bit, continues to be pulled toward the I chord. The entire bridge section repeats the same chords.
- memorable vocal hook that uses the song title - CHECK
- background vocals (harmonies) featured throughout - check* maybe not throughout, but they are featured big time in the bridge
- male vocal - check
Final Takeaways
I have not mentioned the tail end of the bridge yet - B'(8) and B''(9). These happen after the vocal melody which was discussed above. The first 8 bars is a fairly uneventful guitar solo that really just adds some texture with a delayed chorus thing moving over the bridge/interlude chord progression. There is some great orchestral arranging from producer James Anthony Carmichael. This whole section just provides a nice runway to build suspense before the inevitable final statement of the theme. But the real crowning jewel has to be the "ooh's." Lush harmonies and melodic exchanges between several voices that layer themselves to create a cascading descent of quarter notes and complex upper chordal structures. After they start to repeat the cycle, they drop out for another random 1 measure build to give us one more partial chorus.
Of the songs I have analyzed for this project thus far, this one is the most complex and unique song to garner such mass appeal. I would argue that the lyrical content, the timeless feel and the constant pull to the home key are the elements that helped to get this one accepted in the public's eye, or heart as it may be. Either way, I went in as a casual bystander and am leaving as a big fan. I look forward to discussing this one with some of my music geek friends and getting their opinions. I sincerely hope it appears on a future gig setlist, assuming we will be allowed to play gigs again ;)
What are your takeaways from "Three Times A Lady?" Did the musical oddities within ever turn your heard, or did it escape your conscious as an innocuous romantic ballad? Leave me a comment!
Up next....July 30th, 1988....a 4 week rampage on the charts...."Roll With It" by Steve Winwood! What a difference a decade makes!
[1] https://www.billboard.com/articles/news/7400313/lionel-richie-three-times-a-lady-songwriters-hall-fame-interview
When this song came out I heard it way too many times, so thanks for letting me take a fresh look at it. It is indeed pretty sophisticated. An example of someone who not bound by knowing too much theory comes up with interesting twists on what might otherwise be fairly predictable.
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