"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/

Rounds 4 and 5 Wrap Up: "On the 1's" and "On the 2's"

My strategy for analyzing no.1 hits on the Billboard Hot 100 has been to take glimpses of the songs, one decade at a time.  Using the first week of August as my target date, I started the whole thing off in August of 1958 with the inaugural no.1 hit "Poor Little Fool" by Ricky Nelson.  From there, I visited 1968, 78, so and so forth.  

The last 12 analyses have covered 1961 - 2012.  After analyzing chords, melody and lyrics, I compiled a list of common musical threads that were present in each.  Though I have done for each analyses, I started a fresh list and built on it with each song.  The "final" list ended up with 7 reoccurring musical elements:

Repetitive Melodic Motifs - the overall melody repeats itself both with identical phrases and with similar intervalic or rhythmic motion

Stepwise Motion Common in Melody - 2nds, major or minor, are the primary melodic interval

Hook Uses Song Title - The hook, or catchiest part of the song, utilizes the title

Vocal Harmony - Prevalent vocal arranging through parallel harmony, countermelody and/or call and response

Texture Changes - Timbre and/or dynamic change through instrumental arrangement

Strong Harmonic Motion from V-I - Chord progression that sees V7 resolving to I (or i)

New Material at the End - the closing section of the song features a new melody and/or chord progression

Below, I have summarized each song in relation to these commonalities.  Please take a look at individual entries for each songs analyzed, by the decades: "On the 1's" (1961 - 2011) and "On the 2's" (2012 - 1962). 

Common Threads - 1961 - 2012

A few things stick out.....

Every song contains repeated melodic motifs.  Repetition took a couple of different forms from the use of similar intervals and rhythms to straight out repeats of phrases.  Either way, this is the common thread that makes the most sense, as listeners generally gravitate to predictability.  

Every song on this list includes the title of the song in the hook.  It's interesting that this trend, certainly seen in many modern songs, has been happening since the early 60's.  I know there are exceptions to the rule, but they are few and far between....(notable exception: Drake's 2018 no.1 "In My Feelings")

Prominent stepwise motion was present in almost every song.  While there were 2nds in the melody, Bobby Lewis's 1961 contribution, "Tossin' and Turnin'," leaped around quite a bit.  It makes sense that stepwise melodies are favored by many listeners.  It's also worth mentioning that most of the time, melodies are diatonic.  I may keep closer tabs on this moving forward.  

Texture changes were present on almost every song as well.  The two songs that had static texture from beginning to end were Madonna's "This Used To Be My Playground" (1992) and Nelly's "Hot In Herre" (2012).  Both of those stayed in the same sonic space, dominated by keyboard sounds with no relent.  The other compositions have some change in texture from less drums, to more drums, to no drums.  The same goes for other instruments, like guitars, bass, horns, etc.  There are further exponential variables when you consider way instruments can be grouped to get different timbres and sonic textures.

Many songs use vocal harmony, which coincidentally can be used to change the texture.  The only song above that did have vocal harmony without texture change was Madonna.  This is mostly due to the harmony being present a majority of the time, so nothing ever really feels different.  She provides the harmony herself, keeping the timbre even more unified.

After analyzing this data, I see the "new material at the end" element was really just a reaction to three songs in a row (2011, 2001, 1991).  As you can see, it doesn't occur again outside of 1992, which barely qualified with a 4 measure variation on previous themes.  

A curious element is harmonic motion from V-I.  7 out of 8 songs between 1961 and 1992 contained V-I motion.  The only one that didn't was "Eye of The Tiger," mostly due to the popular minor key progression of i - bVI - bVII....no V's are really needed.  Songs between 2001 and 2012 come up empty though, indicating an abandonment of this traditional cadence.  In keeping with that theme:

Look at those chord counts!  With the exception of "Eye Of The Tiger," the curve is generally higher before the 2000's.  After that, no.1 hits seem to utilize less chords.  This can also be seen in the lack of V-I resolutions.    Check out the line graph below to see how the number of chords used in these no.1 hits has changed through the years.

Let's take a look at some compiled data regarding singer gender, key signatures, tempo, song length, chord progressions and sections. 

Combining the above data with the previous data taken from the round 3 wrap up, in 37 analyses, we see the following trends:

• 14/37 (38%) in a minor key (+2%)
• 12/37 (32%) have a tonal center of Ab (G#) or C
• 16/37 (43%) utilize one primary chord progression for the entire tune (-5%)
• 26/37 (70%) contain more than 2 sections (+2%)
• 7/37 (19%) have verse and chorus only (-5%) 
• 23/37 (62%) contain at least one bridge section (+10%)
• 14/37 (38%) utilize the bVII chord (-2%)
• 25/37 (68%) utilize the IV(iv) and I(i) chords (-4%)
• 34/37 (92%) are in duple (2/2 or 4/4) meter (+/- 0%)
• 23/37 (62%) feature a male lead singer (+6%)
• 35/37 (95%) use the title of the song in the hook (+3%)

• Average length - 4:03.  

Looking at these points, I am thinking of a few things:

• Major keys are slightly more favored than minor keys.
• Tonal centers are all over the map with 12/37 songs using C or Ab as the home pitch!?
• Songs generally have more than 2 sections, which usually includes a bridge.....if there is a bridge, that usually indicates a verse and chorus as well.  
• Duple meter is king.
• I and IV (i and iv) chords are common in chord progressions
• Slightly more male than female lead singers
• Using the title in the hook is almost universal

So that's a wrap on these two rounds of analyses.  Once again, I am finding myself discovering some cool new songs and appreciating ones I may not have given a chance.  

In the past few weeks, I have been listening to lots of pop radio, mostly to occupy my children (ages 10 and 8) on car rides.  They are very familiar with many top 40 songs and actively sing along.   When I have had enough of a particular song, I zone out.  As the music fades to background music, it's not offensive and doesn't demand my attention, it's just pleasantly there.  Those are the two extremes that contribute to mass appeal.  I can be actively engaged in listening or just find comfort in the familiar well-mixed drone.

Up next time, I'm going to take stop in 2020 and analyze "Circles" by Post Malone. I recently learned it for a gig and figured I should write it up for posterity.  After that, we'll head resume with "On the 3's," heading to 2013.  Get ready for a continued dive into no.1 hits, through the decades.

"Tossin' and Turnin'" - Bobby Lewis, 1961

 When I discovered I would be analyzing 1961's "Tossin' and Turnin'" by Bobby Lewis, I drew a blank.  I searched up the YouTube video and listened to an unfamiliar rhythm and blues intro set the stage for what sounded like a classic 60's doowop concoction.  Then an infamous line busts down the door of familiarity: "I couldn't sleep at all last night."

I had indeed heard this song before, and I'm willing to bet whomever reading this has as well.  The catchy number appears in "Animal House (1978)" and "American Graffiti (1973)" and is the fourth longest running no.1 song from the entire 1960's.  Bobby Lewis, unfortunately, died this past spring (April 2020) at the age of 95. [1]

As I dug into this one, I noticed the fine craftsmanship and noted it likely influence on many songs that followed.  There is nothing harmonically groundbreaking, but you certainly find traces of core elements in other no.1 hit songs: predictable musical elements with a few twists and turns sprinkled with a personal touch of style.  Finding similar musical attributes in songs decades apart is thought provoking and the main impetus for this project!

July 10 - August 21st, 1961: "Tossin' and Turnin'" by Bobby Lewis goes on a 7 week spree at no.1!

I love older songs because many have a form not too far removed from blues and jazz.  We definitely find that here, but again, with a little twist.  The intro is a free, rubato section that lasts 4 measures.  Then, two additional measures act as pickups to the verse.  Each verse is really just a 12 bar modified blues progression.

The first bridge is essentially an 8 bar section with, once again, an extra 2 bars that act as a pickup back into the verse.  The second bridge is also an 8 bar section, but with different changes as the other vocal bridge.  The outro section is a tag of the refrain, or repeated vocal line from each verse ("tossin and turnin', turnin' and tossin', a tossin' and turnin' all night").

The whole tune plays out in a predictable way, two similar sections (A), a different part (B), then a return to the first part (A).  A bridge (C), in this case a horn soli, breaks up the return to the different part (B), followed by a repeat of the main part (A).  The extra two measures that create space are those added wrinkles that elevate this one to a special place.

Chord Progressions 

In sticking with a theme, "Tossin' and Turnin'" uses basic changes that contain a few wrinkles to make it stand out.  The intro puts us in the key of C with a rubato like section.  The last two measures of G set up the verse:

C  / Amin  /  F  / G  /  G  /  G
I  /  vi        / IV  / V  / V   / V

The 12 bar verse is a blues variation:

C  F7  /  C   /  C  F7  /  C  /  G7  /  G7  /  C  /  F7  /  C   / F7  /  C  F7  / C
I   IV  /  I    /   I   IV /  I   /  V    /   V    /  I   /  IV  /  I     / IV   /  I  IV  /  I

While these chord qualities represent the basic gist, the guitar part adds some interesting color into the mix during the verse.  Take a look at the verse changes between the guitar and bass:

Verse - guitar and bass

The guitar is adding a D# or Eb note, the #9 or minor 3rd, a common tension added to C7 in a blues setting.  We get the same tension, briefly, on a G7 to create a G7b13 sound.  Again, the chords are basically dominant 7 chords, and in many live versions, that's all you get.  These little additions on the studio recording do stand out and give it a unique vibe.

The vocal bridge (B1) includes some unison hits from the band, creating a call and response between the vocals.  The chords in this bridge play out to be:

F7  /  F7 / C  /  C  /  F7  / F7 /  D7  / G7  / G7 / G7

IV /  IV /  I   / I    /  IV  / IV /  II    / V     / V   / V

As in the intro, the last two bars of G bring us back to the verse.  I do especially like the dominant II chord, or V/V to get to the G7 chord.  The band plays a slick chromatic run to get there that adds just enough spice to keep this section from becoming too repetitious.  

The second bridge contains a horn soli and another variation on the changes:

C  / C  /  C /  C  / G7 / G7 / C F7 / C

I  / I   /   I  /   I  /  V   / V   / I  IV / C 

The outro tags the second half of the verse changes to finish out the song with a fade.  While these changes are simply and primarily built on 4 chords, they are mixed up in 4 different variations!  We have seen many songs that use the same progression with no variation.  This is a cool twist on basic changes.  

Melody

Bobby Lewis is a great singer.  This song presents a defined style that he showcases in the verses and bridges with nuanced variation, an observed quality in many songs that reach no.1.  The intro starts freely, presenting us with some melodic patterns we will see later on - leaps of 3rds, repeated notes, phrases beginning on beat 2 and "simple" quarter-eighth note syncopation: 

Intro

The verse plows in with a horn lick, followed by that familiar line.  In a vacuum, the opening line here is somewhat deceptive, indicating C major over a G7 chord.  When you're not expecting it, it somes off temporarily "wrong," until the rhythm section drops the C chord.

verse 1 - pickups and meas. 1-6

 Bobby has a style where he slurs down or up to a chord tone in his delivery.  It creates this smooth and slippery sound.  The background singers add a whole other elements as they follow the chord tones and answer Mr. Lewis in contrasting timbre.  Heading into the next 6 measures, we get the refrain, which repeats in each verse, as well as in the tagged outro.

Verse 1 - meas. 7-12

The interplay between Bobby Lewis and the background singers is rhythmically contrasting.  The ladies keep their phrases straight, using mostly quarter and half notes.  Bobby throws in some slight syncopation over the top to create a cool overlapping texture.  Once again we hear slides up and down to chord tones.

Moving to verse 2, there are few variations to the melody.  The background singers repeat verbatim, but Bobby changes a few things up to keep it interesting:

Verse 2

Once again, we hear a pickup that repeats a C note, this time sounding much more natural, now that we know where it's headed.  In the fourth measure, above, he repeats a high C, a different choice from that same spot in the first verse (low C arpeggio).  In the refrain, he switches around his melody, going higher to E on "turnin' and tossin'" as opposed to "tossin' and turnin'" in the first verse.....  He will continue to add in little nuances in the third verses as well.

So far, the verse melody has been constructed with mostly repeated chord tones.  The ends of phrases usually resolve stepwise to chord tones, but there are many leaps of thirds throughout this melody, a departure from all the 2nds we have seen so far in this round.  

Instead of call and response with the background singers, the first bridge features a call and response between the band and Bobby Lewis.  The rhythm section kicks things off with a new syncopation and a series of diatonic ascending lines through the changes.

Bridge 1 - pickup and meas. 1-6

Melodically, we get more repeated chord tones with lots of leaps from C-A and even the odd leap from A - D in measures 1 and 5 over the F chord (3rd - 6th).  This continues in the last 4 measures of the 10 measure bridge.  Again, we get more repeated chord tones on the shared D.  The rhythm section takes the spotlight in the 9th measure, leading to the familiar pickup into verse 3, just like the intro:

Bridge 1 - meas.7-10 leading to verse 3

The second bridge features a horn soli, in octaves between saxophone and trumpet.  They play with 16th note triplet ornaments approaching Bb, a definitive shift to a C7 sound during this section:

Bridge 2 - Horn Soli

This part combines a few elements we have see already in the tune.  There are chord arpeggios, as heard in the verse pickup measures.  We hear repetition of 3 notes, a developed variation on the repeated notes from the verse.  We also hear ascending lines to the chords, influenced from the first bridge.  This part does its job and breaks up the vocal sections of the tune, giving the listener a breather as we go into the final stretch.  

Lyrics

 

The lyrical sensibility of the 60's is very different from today.  Though the lyrics are simple and straightforward, they have a certain charm.  Perhaps it's because they come from a genuine place and haven't been rehashed 100 times to make them feel cheesy or redundant.  

He sets up the tune perfectly with the premise: "I couldn't sleep at all last night, just a-thinking of you."  Moving on, he gets the most mileage out of the title, twisting it all around, lyrically tossing and turning with the words.

In verse 2, he paints the picture a little clearer, struggling with his pillow and blankets.  In the bridge, he finally breaks and gets out of bed, a scenario we can all relate with.  Here, he cycles through getting out of bed, turning on the light and going to the kitchen for a bite.  He then goes back to bed and turns off the light, reminding us "it was the middle of the night."  There is also a whole sequence with pulling down the shade...I'm not sure why you would pull down the shade in the middle of the night and then pull it up when you returned to bed in the middle of the night....

The third verse is a window into the past.  Still unable to sleep, he hears the clock strike four (am) as well as the milkman at the door.  How many people have a grandmother who still gets milk delivered?  What a cool detail that hearkens back to olden times.

Common Threads

     

What musical elements do no.1 songs across decades have in common?  So far in this round, "on the 1's," I have analyzed the no.1 song during the first week of August from 2011, 2001, 1991, 1981 and 1971.  Over the course of these analyses, I have compiled a list of elements present in each, adding or subtracting elements as needed.  Picking up from the Bee Gee's 1971 contribution "How Can You Mend A Broken Heart," let's see how "Tossin' and Turnin'" stacks up.

Repetitive Melody -  absolutely.  Repeated chord tones, vocal slurs to chord tones, similar syncopation and call and response between two groups dominate every vocal section of the tune.  

Texture Changes - There are a few.  The element of the background singers in the verse creates a unique texture.  The rhythm section part in the bridge also create another feel.  The horn soli in the second bridge sounds completely different than anything else in the tune.  

Hook that Uses Title of the Song - Check.  It is possible to consider "I couldn't sleep at all last night" as a sort of hook, as it is famously associated with the song.  It only happens once though.....The proper refrain happens four times.

Strong motion of V- I - Every G7 resolves to C

Use of Vocal Harmony - background singers enjoy belting this one out!

- Stepwise Motion Common in Melody - as mentioned, this song uses a lot of 3rds, 4ths and 5ths.  There are certainly 2nds present, but not as prevalent as thirds.  Off the top of my head, this has to be one of the only songs that does not rely on stepwise motion to fill out the melody.....

(- new material at the end)  

Chord Count - 5 - C, F7, G7, D7, Amin - I will count all the C variations as one chord, considering they all serve the same function and have basically the same feel.  At 5 chords, this is only two more than 2011's "Party Rock Anthem," really only one more, considering the Amin only happens in the intro.  I think the inclination is to think songs get more simple as you get more modern, but that is not really the case.  This 1961 classic is pretty simple.

Final Takeaways

This one pleasantly surprised me.  It has lots of elements I like hearing in a song: a hook that repeats often and is easy to sing along with, a fun vocal delivery, background vocals you can shout along with, an instrumental solo and a slightly quirky form.  Way to be Bobby Lewis.

It's not hard to see why this song was so popular in the 60's.  It's catchy and fun.  The lyrics are clever and relatable.  The instrumentation and general presentation are in line with pop music of the day, ideal for dancing.  The melody is nothing groundbreaking but effectively gets the point across in an approachable way.  This one is a classic in every sense of the word.

When I first heard the famous opening line, I immediately knew I knew the tune.  This is one of those songs that has permeated the collective conscious of people within a certain age range.  I'm sure I only knew it from "Animal House," but I would be willing to bet it has appeared in other movies and TV shows.  There are several cover versions, another hallmark of a fine song.  Songwriters Richie Adams and Malou Rene sure struck gold with this hit.  

What do you think of "Tossin' and Turnin'?"  Do you recognize it past the famous opening line, "I couldn't sleep at all last night?"  How do you think it stacks up to more modern no.1 hits?  Leave me a comment!

Up next time:  I am foregoing a round 4 recap due to the small number of data points, only 6 songs.  Instead, I will roll right into round 5, "on the 2's."  Starting with 1962 we will work our way up through the decades to 2012.  That will leave us with another classic....a title  recognize, belonging to a song I couldn't hum a bar to....

August 11-18, 1962, a two week run at no.1: "Breaking Up Is Hard To Do" by Neil Sedaka....stay tuned!  

[1]https://www.billboard.com/articles/columns/rock/9401723/bobby-lewis-dead-tossin-turnin

"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/