"How Can You Mend A Broken Heart?" - Bee Gees, 1971

 Prior to the composition of "How Can You Mend A Broken Heart?" the brothers Gibb were going through a period of separation.  Barry and Robin Gibb got together to write this song and months later, it would stake a claim as their first Billboard Hot 100 no.1 hit! [1]

This song is one of those epic 70's ballads that struck the right chord at the time.  It has gone on to be covered by some music giants such as Al Green (on Let's Stay Together), Rod Stewart, Barry Manilow and Michael Bublé, to name a few. [2]

While this tune does not fit the stereotypical image of disco Bee Gees, it does pack an emotional punch.  Not only that, the ballad tempo and passionate delivery stand out as honest and unique, especially after all the poppy analyses I have covered in this round, "on the 1's."  Let's tear this thing apart and see why it reached no.1, from a musical standpoint.

August 7th - August 28th, 1971: "How Can You Mend A Broken Heart?" by the Bee Gees stays at no.1 for 4 weeks!

I've noticed a trend in songs with a "classic" song structure that also have a few twists.  By classic structure, I means verse-chorus-verse-chorus-bridge-chorus, or ABABCB.  There are many variations on this, of course, but that't the gist.  "How Can You Mend A Broken Heart?" delivers exactly that, with a few added wrinkles.

For starters, the verse is 9 measures long, instead of a more traditional 8 measures.  The first time we hear the chorus, it is 17 measures long, opposed to the 16 measure version we hear later on.  Extra measures tacked on to a section provide space for melodies to settle in and reach maximum effectiveness.  The Bee Gees accomplish that here.  

The bridge section, which is a variation on the first half of the chorus, serves the purpose of a bridge: bridging the beginning of the song to the end.  While melodically it is not new, it does break up the lengthy chorus section in a new way.  An abbreviated chorus is a nice way to wind the song down, leaving us with the primary message and longing to hear it again.

The outro is a short 4 measure section that winds the song down to zero.  We get melodies reminiscent of the intro and verse.  The piano tinkles into nothing as the song ends contemplatively.  The form of this one helps keep the sentiment focused and no doubt contributes to its accessibility.  

Chord Progressions 

Much like the form, the chord progressions are straightforward with a few small wrinkles tossed in.  The intro establishes the home key, E major.  The guitar sets it up with a cowboy like strum on the E chord, establishing the swing eighth feel:

opening guitar rhythm 

When the piano comes in, A's are added to create a suspended 4 sound (sus 4), a sound that will be developed during the verse:

Intro - Piano Melody

When the verse melody comes in, the first 4 bars stay in the E major space:

E  / Emaj7  / F#min11/E    / E 

I  /  I           /  ii or Isus      / I

The F#min11/E only sounds for 1 bar and is undoubtedly a "guitar thing;" open low E over 2nd frets down the line.  To my ear, it has the same effect as the opening piano suspension.  Perhaps then it should be E 6/9?  The melodic emphasis on the A inclines me to keep it as the F#min foundation and function.  

The next 5 measures of the verse follow a standard progression we have seen in several songs throughout this project ("Incomplete" (2000) off the top of my head):

G#7   /  C#min  / F#7  / B7    /  B7
III     /  vi          / II     / V      /  V

The chorus uses a variation on the verse, developing it further, adding in IV and V:

Emaj7   /  E Maj7  / F#min7  /  F#min7  / A  B7  / A  B7  / F#min7  B7 / E
I            /  I             / ii            /  ii             / IV  V  / IV  V /     ii        V    / I           

These 8 bars are repeated to finish out the chorus.

The bass part adds a few nuances to the mix with some rhythmic accents on roots and 5ths, chromatic passing tones and an inversion on the F#min7 chord in the penultimate measure.  Here is the bass line as heard in the second half of the second chorus (starting at 2:40):

Chorus 2 Bass - m9-16

Melody

When the Bee Gees wrote this tune, they were going through some familial turmoil.  The music reflects that quite nicely through the words and the delivery of the melody.  In verse 1, we hear Robin Gibb sounding vulnerable.  After 4 measures, he is joined in unison, enhancing the lyrical impact:

Verse 1

Rhythmically, this verse was hard to pin down.  Robin is often just behind the beat and delivers the melody in a conversational way.  The first 4 bars stay diatonic and suggest an E6 chord in the first measure with the C#, resolving to the G# (3rd) in the 2nd measure.  The F#min11/E measure touches on all the chord tones, except B, before going back to an E major lick, root-2nd-3rd.

G#7 is not a diatonic chord and the melody moves up root-2nd 3rd of G# major, raising up A and B.  The C#min measures hinges on a C# before moving up to E, minor 7th of F#7.  The B7 measure uses a familiar root-2nd-3rd pattern, in retrograde to start.  The last measure creates a brief suspension to set up the chorus.  

The second verse follows suit with the first, altering the initial four bars more so than the last four.  While the verses are emotional and fitting, they do not contain the signature Bee Gees harmony.  Heading into the chorus, we get a different tone of voice and that sweet, sweet harmony after four bars:

Chorus 1 - meas. 1-8

The first two bars create a tangible feeling.  Moving between major 7th and root in a high register, Barry Gibb brings the goods.  The next two measures move lower, with a return to the conversational feel of the verse and the C# tonal center, now over an actual F#min7 chord.  

The harmony in the next four bars is close and creates a wall of blended sound.  The punctuation of their delivery pushes the melody forward, propelled by the faster moving harmony.  The descending scale to finish the phrases also flows nicely into a triplet string line, leading into the second half of the chorus.

Chorus 1 - meas. 9-17

    The second half of the chorus is similar to the first half, coming in with the same pitches and feel.  In the fourth measure there is a new string line that appears, leading in the harmony vocals in measures five.  The harmony is similar and devolves to a single line on "and let me live again."  In this first chorus, the extra measure calls back the piano intro, this time with an added vocal in contrasting rhythm.  

The chorus has a little bit of everything a good melody wants to have.  There is syncopation set against lots of space.  There is a melody that explores high and low registers, in unison and in three part harmony.  These same qualities can be seen in the bridge, a variation on the chorus's opening four measures, this time in harmony:

Bridge

The harmony here is in octaves, reaching all the way to high C#.  Though this part is just a reharmonization of the chorus, the high notes and new harmony make it feel completely different.  This is followed by the last 4 measures of the chorus.

Lyrics

The lyrical content of this tune offers something for everyone.  There are abstract ideas as well as some predictable, and dare I say, cheesy analogies you would expect from a 70's soft rock ballad.  

I can still feel the breeze that rustles through the trees

And misty memories of days gone by    

The opening lines of verse 2 present a vivid picture, complete with alliteration and no rhymes.  This is concluded with a rhyming callback to verse 1, complete with a less subtle indication to the emotional point of view:

We could never see tomorrow

No one said a word about the sorrow 

I think my favorite line has to be:

How can you mend this broken man?

How can a loser ever win?

This is a little more clever than previous questions about how to stop "the rain from falling" or "the stars from shining."  This line, delivered with raw emotion, epitomizes the feeling of personal loss and defeat, a feeling all of can relate to.  

Common Threads

What musical elements are present in no.1 hit songs across the decades?  That is exactly what I am trying to find out.  Picking up where "Jesse's Girl (1981)" left off, what common threads do the Brothers Gibb add or subtract from the equation?

Repetitive Melody -  the verse and chorus each share borrowed melodic and rhythmic influences.  The conversational tone coupled with single note phrases that develop into stepwise passages happen throughout.  

Stepwise Motion Common in Melody - The entire melody is built on 2nds.  There is the occasional third, but this one moves in steps most of the time.  

Texture Changes - The most impactful texture change comes in the vocal harmony.  The arrangement helps as well with piano, strings, drums, bass and guitar making their way in and out.  There is also a tasteful trumpet solo behind verse 2.  This one never sticks with the same timbre for too long, a helpful quality for a ballad to have to keep it moving forward.    

Hook that Uses Title of the Song - Check.

Strong motion of V- I - The ii-V's qualify this one.   

+ Use of Vocal Harmony - Upon further review, every song in this round "on the 1's" has contained important vocal harmony.  It just took the power of the Bee Gees for me to see it!

(- New Material at the End) - the outro section borrows ideas from the intro and verse, so this one is still out.

Chord Count: 8 - E, Emaj7, F#min11/E, F#min7, G#7, C#, F#7, B7 - I was tempted not to count the variations on E, but I feel they each have a different effect when they happen.  In the future, I may go back and summarize the chord counts to other songs.  "Jessie's Girl" still leads with 10 chords. 

Final Takeaways

Going into this one, I had never heard the tune.  When I did, I was struck by the overall sound.  The opening voice sounded hollow and the harmonies came in much later than I expected them to.  The arrangement was impressive the first time around, but I was still unsure about the tune.  I remember thinking, "where's the hook?"

Like many songs, after repeated listens I came to enjoy it.  After listening to the words, the vocal delivery made sense and the prolonged harmony paid off to my ears.  I noticed lots of nuance in the arrangement and walked away from listening singing "how can you mend..."  

I think I really like the Bee Gees.  They get pigeon-holed as a disco group, but there is a lot more to them.  This song sounds nothing like their more popular work and it's their first no.1 hit.  A group that has the ability to morph their sound so dramatically must be doing something right.  They also wrote the tune themselves, inspired by real life events.  

In a modern world of songwriters pitching songs to artists and lyrics that glorify the party lifestyle, this one seems out in left field.  I love the honesty of this song.  Much like I talked about in my preference of "Jesse's Girl" lyrics compared to "Everything I Do..." lyrics, this one is obviously inspired by first hand experience and not a idealistic or forced narrative that makes for a good song premise.  

What do you think of "How Can You Mend A Broken Heart?"  I was not around in 1971, but it is fun to imagine hearing this song as it was being released.  I would imagine it stole the heart of the USA in many of the ways I pontificated on today.  Leave me a comment!

Up next time, the last stop in our journey "on the 1's:"  July 10 - August 21 1961, "Tossin' and Turnin'" by Bobby Lewis lasts 7 weeks at no.1  Wow, I have no clue about this one.  7 weeks seems like a long time for a song to be at no.1 in any decade.  What common musical traits will this long lost classic share with other no.1 hits through the decades!?!?!?

[1]https://www.beegees.com/behind-track-can-mend-broken-heart/

"Jessie's Girl" - Rick Springfield, 1981

 Of all the songs that I have analyzed for this project, I am probably most familiar with "Jessie's Girl."  This is not because I love the song and have fond nostalgic memories of rocking out to it as a kid.  My history with the tune goes back to my first professional rock cover band back in 2003.  This was one of our staples and a crowd favorite.  The funny thing is, I probably didn't hear the recorded version until 2006.  Back in those days, YouTube wasn't the giant it is today and finding recordings of songs was limited to owning the CD or finding stray Napster download.  Like many songs in that particular cover band, I learned it on the gig, quite incorrectly, as played by the guitarist.  

As I went into this analysis, I listened with fresh ears in attempt to objectively find out why this song is beloved by many.  I was initially surprised at how "small" the song comes off....it always felt so much bigger and more epic on a live stage with people singing along.  What I did find was some creative songwriting and a no.1 hit with qualities I love discovering. 

In an interview with Classic Rock, Rick Springfield says the despite its inherent simplicity, the song took a while to get right. [1]  For a song that relies on basic harmony, there is something sneaky complex about this song.  Next time you listen, open your ears and you will hear phrasing that sneaks up on you, mixed meter and subtle changes to repeated material.

August 1st - 8th, 1981: "Jessie's Girl" by Rick Springfield finally reaches no.1 for two weeks after a 19 week climb!

For such a "simple" song, this form is not so simple.  The first half does contain two chunks of verse-prechorus-chorus, a common song form.  Look a little closer though....the lengths of the prechorus and chorus are a little wonky.  The chorus starts on the + of beat 1 in the 7th measure of the prechorus, but I decided that was more than a pickup. I rolled it into the chorus, even though the harmony insinuates otherwise.

The second verse sneaks in a measure of 2/4, hence the extra .5 in the measure count.  This is only the 2nd time this project has encountered any mixed meter (the first was 1960's "Itsy Bitsy Teenie Weenie Yellow Polka Dot Bikini")!

When the chorus comes around the 2nd time, it is repeated and given a short tag (C').  That leads to the double bridge, which features a lengthy new melody in a new key, followed by a return to a guitar riff, in a new key! When we get back to the home key, we hear a guitar solo, followed by another double chorus, which is again different.

I love song forms that have lots of twists and turns, yet essentially maintain a predictable structure.  When I learned this song on the job 17 years ago, I don't think I wasted any brain space on these intricacies and just tried to feel the broad strokes.  I would imagine that's what many listeners do with this song and it's interesting how these small variants go by unnoticed, yet unquestionably contribute to the overall vibe.

Chord Progressions

The opening guitar riff is the basis for the verse and prechorus:

Verse Guitar Riff

The sequence of power chords moves through some predictable diatonic sequences:

D   A   B   G  /    A  D

I    V  vi  IV /     V  I

The syncopation helps these standard chords stand out.  There is an accent on most (4)+, yet the harmonic movement happens on beats 2 and 3.  Alone, it feels unstable and jerky.  Combined with the melody and grounding drum beat, it comes off smooth.  

Coming out of the prechorus with a measure long build on A (V), which is really the first measure of the chorus.  When we get to the 1 chord in the 2nd measure, we hear familiar chords, but switched around with new syncopation: 

Chorus Chords - meas.2 - 7

The A5 chord hits on beat 1 and an eighth note later goes to the I chord.  In the 2nd measure, we hear defined chord tonality between the guitar and keyboard.  The lick alternates between A and Bmin as the bass stays on B.  It leaves the A/B feeling a little like Bsus2 with the added C#.  This lick moves to a cadence of G-A-D, or IV-V-I, followed by a swerve to B (vi) and then pivoting to A (V).  All of these elements keep the chorus moving forward.  

The first bridge of the song modulates to a G and features a new chordal melody before the vocal enters.  Here, we see the guitar and bass pedaling on a G5 chord with the keyboard/guitar stabbing echo heavy chords above.  The chords outline G-D-A, the same changes as before, now in a completely new context, I-V-II in G - G-D/G - A/G.

Bridge 1 Harmony

The only other harmonic wrinkle happens in bridge 2, when the chorus guitar riff appears in the key of B, a minor 3rd lower than the original.  After 8 measures, it returns to the chorus cadence in D, bringing us home.

Melody

With all of those harmonic escapades going on, the melody is the glue that holds the song together.  Though it contains plenty of syncopation, the notes are structured to create fluid lines.  Of the 4 phrases, the entrances happen on beats (4)+, (3)+, 4 and (3)+.  Remember that harmonic motion occurs on beats (4)+, 2 and 3......in a vacuum, the phrases feel very strange.  In the context of the song, they work.

Verse 1

  The first two phrases stay low in the range, moving between root, 2nd and 3rd.  The next two phrases move up to A, or the 5th, and work their way down the D major scale, A-G-F#-E-D.  

Compare verse 1 to verse 2.  The entrances are different: (1)+ (or (3)+ ?), (3)+, (2)a, (3)+.  The third phrase also mimics the chorus guitar syncopation.  Pitch wise, we see the same sequences.  

Verse 2

The prechorus comes in strong with a higher range and added harmony.  3 note descending phrases dominate this part - D-C#-B, or root-7th-6th and then C#-B-A, or 7th-6th-5th.  The section ends with 6-5, setting up the A chord build in the chorus. 

Pre Chorus

The chorus is the most memorable part of the song.  The first 7 measure version climbs quickly to the highest note of the song and hook - "Jessie's Girl."

Chorus 1

This part also has lots of space.  We see two or more beats of rest between phrases that repeat the hook, but vary in approach.  In the space, the keyboard/guitar riff rings out clearly.  The end of the chorus, like the end of the verse, goes down diatonically from A to D.  The last two notes go up a step to E to match the chord of the moment, A.

The next iterations of the chorus feature slight variations and internal repetition.  The 2nd chorus tags "where can I find a woman."  The third chorus takes a different approach.  Here, we get a tag of "Jessie's girl" in measure 6, below.

Chorus 3a

The added "like" in the 9th measure, also used in the 2nd chorus, bridges to the final statement of the song.

Chorus 3b

 

Inside this section is a subtle moment where Rick Springfield and his background singer do a quick overlapping vocal on "I want."  It happens only once, but it's very cool.  After the 3rd "Jessie's girl" of this part, we get the ending, another syncopated cadence, this time, ultimately leading to D.  It comes out of nowhere, a fitting way to end the tune, considering all the syncopation we've encountered throughout.

The only other vocal melody in the song comes in the first bridge.  Here, an ascending line, with added high harmony, moves from B to E, or 3rd to 6th of G.  It then makes its way back down to B by thirds, E-C#, C#-A, or 6-#4, #4-2.  

Bridge 1 - Meas. 5-12

The rhythm of this melody is fairly uniform, more so than the verses.  Looking above, it's easy to see rhythmic similarities on each line as well as phrase similarities between every other line.  This part has such a great vibe and functions as a true bridge, breaking up repetitions of the hook.  The vocal harmony here is great as well, taking the male voice to its outer limits (for my voice anyway).  

There is, of course, a guitar solo where a third verse would go.  I did not transcribe the solo, but it's what you would expect from an 80's rock pop tune.  There are some repeated notes, some bends, arpeggios and fast licks in between.  

Lyrics

In researching the song, I was unaware it was based on true events.  It looks like the real life "Jesse" was named Gary and he had a girlfriend Rick Springfield fancied. [1]  Rick had a lot of complicated feelings about this, and he lets it show in the lyrics.

For such an iconic pop song, the tone is bordering on dark.The bridge demonstrates this best, using the simple rhythme scheme ABAB.  Check out the video of this part as well if you're questioning his tone:

And I'm lookin' in the mirror all the time

Wonderin' what she don't see in me

I've been funny; I've been cool with the lines

Ain't that the way love's supposed to be?

Other sections use some pretty inventive rhyme schemes. Verse 1 is ABBB, while verse 2 is AABB, with the last B containing a great forgotten phrase "the point is probably moot."

The prechorus doesn't really rhyme at all and the chorus rhymes "girl" with "girl"  

Last time, I was not so fond of the lyrics in Bryan Adams' "(Everything I Do) I Do It For You."  I think this was because they were an idealistic sap fest that lacked a real personal connection.  This song, on the other hand, reeks of personal experience.  You can just tell Rick has some genuine animosity when he belts out "and she's loving him with that body, I just know it."      

Common Threads

What musical elements are present in no.1 hit songs across the decades?  That is exactly what I am trying to find out.  Picking up where "(Everything I Do) I Do It For You (1991)" left off, what common threads does "Jesse's Girl" add or subtract from the equation?

• Repetitive Melody -  the verse follows a repeated melodic sequence, as does the chorus, specifically in the repetition of the hook.
• Stepwise Motion Common in Melody - Lots of stepwise diatonic motion in this one.  The next most common interval would be a minor third, but 2nds rule the day.   
• Texture Changes - There are three main textures throughout: guitar alone (intro), guitar with low key drums (bridge 2) and full on band.  We also get the buildup that leads into the chorus.  
• Hook that Uses Title of the Song - I wish that I had....
• +Strong motion of I - V - this is a potential late addition to common threads.  So far "on the 1's," Bryan Adams (1991) qualifies, while Destiny's Child (2001) and LMFAO (2011) do not.  This may be something worth keeping track of and is a common thread I have encountered before.  

- New Material at the End - there isn't a new section at the end, or even a new melody.  There is an ending that has a new take on the chords, plus the quick overlapping vocal in the end...but in comparison to other songs, not quite enough to qualify.

Chord Count:  10 - D5, G5, A5, B5/Bmin, A/B, D/G, A/G, F#, G#min, F#/G# - There are more chords than you would think when you factor in the chords in bridge 1, modulation chords in bridge 2 and the chords that happen in the chorus.  10 chords here edges out Bryan Adams for most chords in the round, so far!

"Jessie's Girl" easily slides into 4 of the established common threads.  I'm not surprised, as this is truly a classic.  The next time you see a rock cover band and they play this, notice the crowd reaction and audience participation.  For a 40 year old song, it has aged pretty well.  

Final Takeaways

The actual version of this song is very different from the bastardized version I grew up on.  As overplayed as this song is in the cover band and general Rick Springfield scenes, I say it holds up.  There are so many little nuances that keep it feeling fresh.  Verbatim repetition of each chorus would get old fast and avoiding that pitfall elevates the tune to that special level.

The vocal melodies present an interesting contrast between high and low.  The verses are low in register, representing a brooding Rick Springfield.  He gets higher and more agitated in the prechoruses and then goes full on wail is his highest register during the chorus.  He really wishes he had Jessie's girl! 

The video of the tune features the band playing in a few different settings.  I like the stripped down nature of just the power trio, even if Rick Springfield's pantomimes aren't the smoothest.  The bass player belting out the high harmony reminds me of me, and he's playing a Music Man bass (my choice for a bass ax)! There is, once again, a dichotomy of pop goodness with a dark undertone, which musically, sums up the entire song.

What do you think of "Jessie's Girl?"  Did the subtle nuances pass you by on the first 948 listens, or have you always been aware of the herky-jerky-quirkiness of the song?  Leave me a comment!

 We continue to dive into the hits, backwards down the decades "on the 1's."  Next stop, 1971.  A 4 week run at no.1 from August 7th - August 28 - "How Can You Mend A Broken Heart" by the Bee Gees!  It's moments like this I continue to work on this project.  I am pretty sure I don't know this tune.  I know the Bee Gee's, but really only a few tunes and their aura of disco era superheroes.  1971 is early disco, so I'm not sure what to expect with this song.  Either way, stay tuned for more analysis of no.1 hit songs, through the decades!

[1]https://www.loudersound.com/features/the-stories-behind-the-songs-rick-springfield-jessie-s-girl