"Hot In Herre" - Nelly, 2002

 Why are there 2 r's in "Hot In Herre?"  Because Nelly loves double entrendre?  That's the way it sounds when the St. Louis Missouri native says "here" and because it's really hot.....really hot indeed. [1]

What is not a double entendre is the success of this song from Nelly's sophomore record, Nellyville, in 2002.  In addition to being Nelly's first no.1 hit, it won the first Grammy Award for Best Male Rap Solo performance in 2003 (after the category was split to recognize different genders for two years).  [2]  The legacy of the song continues to live on in 2020: as a timeless favorite, nostalgic club classic and even a global warming anthem!?! [3]  I know the guy loves multiple meanings, but I'm sure he wasn't considering global warming in 2002.....was he hanging with Al Gore?

June 29th - August 10th, 2002: "Hot In Herre" by Nelly lasts 7 weeks at no.1!

The only unexpected data in the form is the intro.  12.5 measures works out to be 4 measures in 4/4 followed by a single measure of 2/4 in the first segment.  This is followed by 8 measures of a loop that will repeat for every other section in the song.  Coincidentally, we saw similar intro stats ten years earlier in Madonna's "This Used to Be My Playground."

The rest of the form is standard fare.  Two double verses followed by a chorus makes up two sequences of AAB.  We get a bridge (C) followed by a single verse and double chorus, ABB (fancy inverse!).  The end is a repeat of the bridge, no longer acting like a bridge, but a fitting way to close out the tune with the secondary hook.  

Chord Progressions

"Hot In Herre" uses the same 8 measure chord progression throughout the entire song.  The chord progression is comprised of 4 chords, 2 of which are only different by 1 note.  

The intro actually deviates from the main progression, slightly condensing the longer version:

Intro - meas. 1-5

The lower line, reinforced by the bass plays mostly E, approaching the downbeats with a min.7 D.  The electric keyboard starts with an Emin7 chord, which is a G major triad on top of the E in the bass.  The triad moves down a 1/2 step to F#, still over the E.  We hear F# again, which modulates down again, this time to F.  The cycle repeats in measures 2-4, accenting an Emin triad on beat 4.  The measure of 2/4 creates space before the intro continues for another 8 measures, introducing the primary loop.  

On first blush, I see the intro as:

Emin7   F#/E /      F/E  

i             II     /       bII

I started toying around with other harmonic implications.  The Emin7 could be considered G/E, making G the III.   Thinking about F#/E in terms of B7:  F#, A#, C#, E is F#7, which is V/B....so the F#/E could be V/V?  The chord could also spell BMaj7sus add 9, a highly unusual sub for a V chord.  So the chord could play out as:

Emin7   F#/E /      F/E  

III         V/V  /       bII

In any case, F#/E has a similar pull to Emin/Emin7 that F/E does.   Notes either want to resolve up or down to the closest chord tones by 1/2 step or whole step.  We see an equal distribution of those resolutions when stacked next to one another:

I love the first 5 measures of the intro and more readily connect the song with them than with the 8 measure loop that follows for the next 3 minutes.  It foreshadows all the chords we will hear during the tune and gives a sense of the harmonic motion to come.  It also presents all the material in a slightly different manner than we will see once it gets going.  This is the perfect introduction for the song!

As mentioned, the 8 measure loop uses all the chords from the intro and is repeated until the last note.

Primary Chord Loop

This time, Nelly starts off with Emin, instead of the Emin7 sound, played in a lower octave.  The chords slide between Emin and F/E three times before we heard the Emin7 (G/E), resolved down a half step to F#/E.  The rhythm of the chords, borrow in part from the intro, happens on the + of beat 2 each time.

The lower part, which is doubled by the bass and kick drum, plays the down beat of each measure to solidify the groove.  We hear consistent accents on (3)+ with varying syncopation to fill out beat 4.  

There is also a higher, guitar like chord syncopation woven in.  This part consistently plays a 16th-8th rest-16th figure on beat 3 and beat 2, every two measures.  It comes and goes during the verses and is even exposed at the start of the third chorus.  The higher pitch sits nicely in the balance and it doesn't compete with other syncopations.

The drum groove that accompanies all of this is highly syncopated as well:

drum groove sample

The cowbell, marked with "x", plays an offbeat, Latin like pattern that aligns with the higher chord stabs from above, beats 3 and 2, every two measures.  The bass and snare, marked by the lower downward facing stems, play beats 1 and 2 consistently and double the syncopation on beat (3)+, filling out beat 4 in a few different ways as the tune progresses.  The high hat, stems up at the top, provides 8th and 16ths to lock in the pulse, opening on (3)+ with the other instruments.  

I love when a song has so many rhythmic events occurring simultaneously.  It seems like it would be too busy, but arranged correctly, it works out nicely.  This approach also allows one or two parts to drop out without having the whole thing fall apart.  

Melody

 

The first 5 measures of the intro are really unique.  The keyboard hints at what the song has in store, but never really returns to the pattern verbatim.  Nelly's vocal in the section functions similarly.

Intro Vocal - meas. 1-5

We get a tease of the lyrics as Nelly gives us the forecast.  Melodically, he hints at a common intervallic motion to come, D-E (min7-root), but adds in C#, the 6th of E!  This interval only appears a few other times throughout the song.  It's interesting that he leads with it.

After we hear the looped chord progression, Nelly comes in strong with a memorable first verse:

Verse 1 - meas.1-8

Most of the pitches move between D and E, reinforcing the E minor tonality.  He occasionally makes his way up to F#, though the almost rapid spoken delivery makes that note feel vague.  The melodic theme of the verse is definitely steps moving between root and minor 7.

Rhythmically, measures 1 and 2 share characteristics, as do measures 3 and 4, containing similar entrances and syncopation.  Measures 5 and 6 have more space than previous measures before he kicks on the overdrive for measure 7, winding down in measure 8, once again pounding out D's and E's.

Verse 1 - meas. 9-16

  Measures 9 and 10 retread the (1)+ entrance from measures 5 and 6.  We even get a slight dip to C# in measure 10.  Measures 11 and 12 are very catchy, mostly because they use similar rhythm and he finally changes pitch, going up to the G, the minor 3rd.  In fact, the "bustin' loose" melody is directly borrowed from Chuck Brown and the Soul Searchers 1978 funk classic.  Measures 13-16 return to the D-E theme, introducing a new syncopation on beat 1.  The final pickup into the chorus, once again, features C#.

It's worth mentioning the verse has a lot of "uh's" and "ahhs."  They almost act like a percussion part in their own right, interjecting on up beats, often doubling some of the instrumental parts.  We continue to see this in verse 2, which is similar to verse 1 in length and delivery.  Verse 3 is only 8 measures and consistently delivers rapid rhythmic assaults.

Verse 3

I like the rhythmic structure of this verse, specifically how every other measure measure (except m.7) starts after beat 1 with 8th note syncopation and builds to faster 16th note runs in the next measure.  Nelly starts off with the familiar E-D interval, even visiting G a few times, before he stays on D for the faster passages.  It gives this entire verse a feeling a of anticipation, priming up the listener for the inevitable chorus repeats to end the tune.

In contrast to the longer, faster flowing verses, the chorus comes in with two prominent hooks and a new melodic flavor: 

chorus

Nelly kicks things off with familiar intervals, expanding up the minor 3rd with both interjections and as part of the primary melody.  After 2 measures, we finally hear a new melodic structure and timbre, a response sang by Dani Stevenson.  She alternates between G and F# (over the F/E chord) a few times before going up to the A, a brand new sound for the song up to this point.  Her last note on "off" is a somewhat flat G, or a sharp F#?  It veers close to spoken territory and despite the tonal deficiency, the delivery is perfect for the style and message.....

I do like how this 4 measure segment, repeated twice to yield an 8 measure chorus, contrasts with the longer, less repetitive verses.  The entire chorus is one big hook which stands out even more with the contrasting vocal timbres.  The grunting squeals of delight, introduced in the verse, elevate to even more prominence in the chorus when Nelly interjects five "uh's" on the upbeats, underneath the female vocal.  He is obviously into nudity!

The bridge presents another catchy melody, blending elements of the verse and chorus:

Bridge

We hear lots of 16th note runs, mostly moving from D to an eventual E, accompanied by syncopated "uh's."  Like the chorus, it is very repetitive but does manage to change the words slightly.  We also hear the high G incorporated on "let it hang all out."  This part works well as a bridge and an outro, blending the fast rhythms of the verse and the repetitive catchiness of the chorus.  

Lyrics

The lyrics, like the music, are redundant, simply stated yet intriguing all at the same time.  Nelly pushes the envelope with double entendre and masked slang throughout.  Consider the chorus as a prime example of this:

It's getting hot in herre, so take off all your clothes

I am getting so hot I wanna take my clothes off

 I'm willing to bet everyone has made a similar statement during an extended heatwave.  Logically, it makes sense to shed the extra layers of clothing when the weather is too hot in order to cool yourself and find relief.  I seriously doubt that't what Nelly has in mind though.  

The verses continue to expose his sexual appetite: 

I'm waitin for the right time to shoot my steez (you know)

Waitin for the right time to flash them keys, then uhh

Steez: the quality of being effortlessly stylish or fashionable......we discover the keys are for:

Check it, got it locked at the top of the Fo' Seasons

Penthouse, roof top, birds I'm feedin

   

 "Fo' Seasons" refers to the Four Seasons luxury hotel.  "Birds" could be the British slang for women or Nelly is just expressing his passion for urban ornithology?  He goes on to make a lewd threat:

Cause I feel like bustin loose

And I feel like touchin you, uh uh

And can't nobody stop the juice  

What does "steez" mean again?

My two favorite moments come in verse 3.  First, this question and answer sequence:

I got a friend with a pole in the basement (what?)

I'm just kidding like Jason (oh)  

I imagine the basement pole is a stripper pole?  According the entertaining Genius annotations for this song, "kidding like Jason" refers to the NBA player Jason Kidd.  I'm not sure about his past dealings with strip clubs, but given his past domestic issues, he seems like the kind of guy who may enjoy a shoe show now and then?

And then there's this final statement:

Nelly took a trip from the Lou' to the Neptunes

Came back with somethin thicker than fittin in Sasoons

Say she got a thing about cuttin in restrooms - ohhhhh!

"Lou" refers to St. Louis, Nelly's hometown, and "Neptunes" refers to the track's producer.  "Sasoon," though spelled differently, may refer to the popular line of hair products?  The last line makes me wonder if "lou" could refer to a bathroom, once again using British slang terminology, therefore insinuating the woman wants to cut the line to the bathroom to get an "out of this world" experience with Nelly that results in a viscous, hair gel like product?  Whoah Nelly.....

Common Threads

What common musical elements do no.1 hits through decades share?  That's one of the mission statements of this project.  After I complete each analysis, I attempt to find some of these common threads.  So far, I have used songs from 2011, 2001, 1991, 1981, 1971, 1961, 1962, 1972, 1982 and 1992 to inform this list.  Let's see what "Hot In Herre" contributes.

Repetitive Melody -  The melodic content in the song is repetitive in general.  The entire melody can be summed up with "minor 7 - root movement."  The chorus is also structurally repetitive.   

Hook that Uses Title of the Song - The entire chorus is the hook, which constantly refers to the title.

Stepwise Motion Common in Melody - this tune may have the fewest melody notes of any analysis I have done.  B, D, E, F#, G and A are the only pitches sang, split between two people!

- Use of Vocal Harmony - while there are additional vocals, they do not harmonize any melodies  The background vocals act more like a percussion track than anything.

- New Material at the End - the tune works with little source material.  The end is a repeat of the bridge, which is not often seen in pop song endings.  

- Texture Changes - There are some, but they are minimal.  At most, one of the primary loop elements drops out for a few bars, usually the high pitches syncopated chords.  

- Strong motion of V- I - While F#/E could be considered V, and does resolve to E minor, I wouldn't call it a strong resolution.  

Chord Count: 4 -  Emin7, Emin, F/E, F#/E - minimal chords doesn't always mean minimal musicality.  I like the harmonic motion of this one a lot and feel these chords get a lot of mileage on little source material. 

While there are only 3 common threads, I think the hook and repetitive melody count for double.  They have to be the strongest musical elements of the tune that account for the "extreme ear worm" status this song enjoys, even 20 years after being released. 

Final Takeaways

When I analyzed 1981's "Jesse's Girl," I was reminded of playing the song 20 years ago in a bar band and learning it on the gig, incorrectly.  I have similar memories of learning "Hot in Herre."  I remember being told to "play a groove in E," having never heard the actual tune.  Regardless, I have fond memories of the crowd's reaction, especially when this song was modern and hyper relevant.

I do enjoy listening to this tune.  I love half step motion in harmony, a frequently used movement in heavier music.  While it doesn't come off heavy, it has a dark vibe that I gravitate to.  Musically, the intro is my favorite part and it's interesting that it only occurs as is at the very start of the song.  

Nelly's rap flow is strong.  I like how he uses actual pitches, though limited, to flow through the verses.  When he moves between syncopated lines into 16th note blasts, it's a powerful rush of energy.  The percussive attack of the second and third verses is fun and, without a doubt, gets people up and moving.  While his words are somewhat cringe worthy and even head scratching, they are entertaining and provocative, especially to anyone on a dance floor.

What do you think of "Hot In Herre?"  Does it hold up as a hit worthy of no.1 almost 20 years later?  Leave me a comment!

Next time, the last stop "on the 2's!"  June 23rd - August 18th, 2012 - 8 weeks at no. 1...a juggernaut of pre-teen pop music, at least in my experience, "Call Me Maybe" by Carly Rae Jepsen.  Like it or not, I am interested to see the number of shared musical elements in this one!

[1]https://www.sfweekly.com/music/allshookdown/earworm-weekly-nellys-hot-herre/

[2]http://www.rockonthenet.com/archive/2003/grammys.htm

[3]https://psmag.com/social-justice/how-hot-in-herre-became-a-climate-change-anthem

"This Used To Be My Playground" - Madonna, 1992

Good old Madonna.  Singer, actress, provocateur and pop icon.  She was busy forging her reputation as such in 1992, working on her acclaimed record Erotica.  She also co-starred in a blockbuster movie, A League of Her Own.  The combination of these two elements produced the subject of today's analysis, "This Used To Be My Playground."

Madonna was asked to contribute a song to the movie.  Upon this request, her collaborator Shep Pettibone, wrote a demo for Madonna to work with.  The recording of the final product was tumultuous, and required a quick rewrite of the score while the orchestra waited in the recording studio, threatening a huge price tag. [1]  In the end, we get a no.1 hit single, but it got there in an unlikely manner.

Due to some contract limitations, "This Used To Be My Playground" does not appear on the League of Her Own soundtrack.  Instead, you would have found it on the Barcelona Gold 1992 Olympic soundtrack!?! [2]  Despite this limitation, Madonna hit no.1, breaking her tie with Whitney Houston to become the female with the most no.1's, at the time.

August 8th, 1992:  "This Used To Be My Playground" by Madonna slides into no.1 for 1 week!

The form of this one is simple, yet not without a few quirks.  The intro, led by a keyboard melody, is 8 measures in 4/4 followed by a single measure of 2/4, hence the 8.5 label.  We get cooking right away with the chorus, which for the first two iterations, is immediately followed by a 4 measure post-chorus (PC).  When we hear the chorus later on, we get the 8 measure version, repeated three times in a row with alternate lyrics.

The verses are an unusual 14 measures in length.  They consist of a repeated 4 bar section followed by 6 additional bars.  The bridge is a hybrid of the verse and chorus, using familiar combinations of chord sequences under a string soli.  The song ends definitively with a 4 bar section of new-ish material.  

Breaking this down to a simplified form, it's really just ABAB, interrupted by a short C, followed by repeats of the A section.  This is easy enough to comprehend and a sensical song structure to build from.  As mentioned, it seems to have been tracked live, at least in the strings, which puts it in slightly different air when listening, at least for me.  

 

Chord Progressions

Like a good thesis statement, the intro provides us a context for all of the harmonic sequences to come. The keyboard presents some thick harmony with a melodic line harmonized in 6ths.  G minor tonality is recognized right away, moving between Gmin and F/G, yielding some lush ballad chords.  

Intro - meas. 1-4

The progression takes us to unexpected territory in measure 4, a place we never return to, going to the parallel G major.  The first 4 measures work out to be:

Gmin  F/G    /  -%-  / EbMaj7   Dmin7   /  Gsus   G
i       bVII    /            / bVI             v          /  I

The next 4.5 measures traverse the same ground, bringing in an additional chord to close things out.  We also see some of the melodic lines shift lower in measure 6, below.

Intro - Meas. 5-9

The progression for measures 5-9 here works out to be:

Gmin  F/G    /  -%-  / EbMaj7   Dmin7   /  Cmin11
i       bVII    /            / bVI             v          /  iv  (vi/Eb)

The chorus emerges out of the 2/4 measure, blurring the tonal center with Ebmaj7.  As Madonna's vocal enters, the pacing slows down briefly before picking up again, weaving in and out of G minor.  

Ebmaj7  /   -%-  / D7sus  / Gmin  /  Gmin7/C   / F  F/Eb   / Bb/D   /  Gmin
bVI       /           /   V        /    i         /   iv (V/F)     / bVII       / III (v)  /   i

There are a couple of lush chords that help provide an atmosphere.  D7sus, D-G-A-C, is a very open sound, functioning like V7 and giving less of a pull to Gmin with 2 common tones (G and D) while A and C both want to resolve to Bb.  There's also Gmin/C, which similar to D7sus, functions like a C7sus, C-F-Bb-D-G...

The C7sus, then, functions like V of F, which is where we end up.  Once there, we get a nice descending line F-Eb-D.  On the D, the Bb triad on top now acts like a D7#9b13, D-Bb-F, which leads back to G minor.  The slow tempo, sparse melody and lush keyboard and string arrangement masque some of the complexity.  In any case, it flows nicely.

The chorus leads directly into a post-chorus, the additional 4 measures after the first two chorus sections.  Here, we retread some progressions just heard and introduce a new cadence.  The C7sus sound of Gmin7/C leads to F, followed by the descending bass line once again.  This time, the D7 hangs in the balance, waiting to resolve back to Gmin....

Gmin7/C   /  F   F/Eb  /  D7    /  -%-
iv  (V/F)   /  bVII       /  V7    /  

As the verse drops, the D7 proves to be deceptive, as we once again return to Ebmaj7.  The 14 measure verse takes a couple of twists and turns, visiting some old patterns and introducing more new sequences.  The first four measures repeat, maximizing descending chord roots G-F-Eb-D:

Ebmaj7 / D7sus  Dmin7 /  Gmin  /  Bb/F   ://
bVI       /  V          v         /  i          / III

In measure 9, things start of similarly before the pacing changes and we get to D7sus two beats early:

EbMaj7  D7sus /  D7sus  Dmin7 /  Cmin11  Cmin7  /  Cmin9  Cmin /  Gmin  F/G  /  -%-
bVI        V        /   V           v        /   iv                         /                          /   i        bVII   /

 The descending note theme returns again, this time on Cmin where the piano plays F-Eb-D-C through the shifting Cmin harmony.  The last two measures return to the opening of the intro, something familiar yet slightly unexpected.  

There are a few spots where the basic harmonic patterns are altered even further.  During the bridge string solo, we see:

EbMaj7  /  -%-  /  D7sus  /  Gmin  /   Cmin11  Cmin9  /  F  F/Eb /   Bb/D /  Gmin
bVI        /          /   V        /    i          /    iv             (v/F)   /  bVII     /  III (v) /    i

The outro also features one last new sequence - Ebmaj7 - Dmin7 - each chord last two measures.  It's an interesting move to end on the minor v chord which gives the song a contemplative and melancholy feeling, perfect for the lyrical content and overall vibe.  

Melody

Despite the altered chord voicing and surprising resolutions, Madonna's melody is straightforward and repetitive.  Chorus phrases consistently begin on (2)+ and use similar rhythms and pitches.  The primary sequence of G-D-C-Bb make up a bulk up these phrases, with each resolving to a chord tone, all shared by Gminor.  Even in measure 6 when she sings repeated A's over the F chord, she ends the phrase on a Bb, -3/Gminor.  She finished off the chorus with a final phrase of D-C-Bb, 5-4-3 in Gminor, now an established melodic sequence.    

Chorus + Post-Chorus 1

The post chorus feels very different, entering on beat 1 and settling on C, a first for the vocal melody up to this point.  That is followed by an ascending G minor lick, leading to D.  The final measure is another G minor phrase, this time higher, G-A-Bb-A-G or R-2-3-2-R.  

The chorus undergoes a mutation the second time around.  We get a short countermelody in measures two and three as well as the addition of harmony, similar to the intro piano line, in 6ths.  

Chorus + Post-Chorus 2

There are a couple of cool spots here, including measure 6 where the harmony gets a whole step apart (C/Bb), both chord tones of F/Eb.  The last measure of the post chorus harmony is buried in the mix but hinges on the familiar D-C-Bb grouping.  

The third chorus marks the start of the long ending, repeated 8 measure chorus sections without the post-chorus.  The words change but the harmony remains, thickening the voicing of the counter melody in the second measure.  The last measure takes the familiar note grouping and syncopates it, giving it a sense of momentum leading into the next 8 measure repeat.  

Chorus 3

 The fourth chorus is similar to the third with additional lyric changes.  As it heads into the fifth and final chorus, we see additional vocals added to the mix.  Included with the moving 9th over EbMaj 7, we get another flash of the intro with the descending line Bb-A-G-F; 5-4-3-2 of Eb.  The sustained F is the minor 3rd of D, furthering the case for the function of D7#9b13 where we see D7sus.

Chorus 4 into Chorus 5

Moving ahead to the verse, we see some similarities with the chorus.  The big phrases enter on beat 3 and using short 8th note runs that resolve on chord tones.  The opening notes, D and F are higher than the start of the chorus.  She then returns to the familiar G-A-Bb-A-G lines we saw in the chorus.  That line is repeated, in part in the next measure, leaving off on D-F, like the opening measure.  Like the chords, the next four measures of melody repeat.  

Verse 1

  In measure 10, we hear a descending line, almost opposite of what came in measure 2 of the post-chorus.  This is repeated again in measure 12, ending on a G in measure 13 as the keyboard takes over, revisiting the feel of the opening measures.  

Verse 2 is very similar to verse 1 and like the second chorus, adds in harmony vocals.  The harmony here follows the theme, a 6th lower.  Some of the entrances are slightly different to accommodate changing lyrics.  The last two measures also feature variations by Madonna, singing Bb-A-G over the last Gminor chord and adding a new melody on "I'll never say," similar to the countermelodies used in the chorus.  

Verse 2

The outro features one additional vocal melody before the song ends.  Chorus 5 uses the syncopation seen at the end of chorus 3, adding in a harmony for "free" on Eb chord tones.  She ends with a descending figure, G-F-D-C, bumping back up for D-C.  The last note, C, is minor 7 of Dmin, a sound we have not head sustained during the same for long periods of time.  

Chorus 5 into Outro

The only other section that hasn't been formally mentioned is the bridge which features the strings playing the melody.  Here, we see some familiar melodic groupings (G-A-Bb) presented with new rhythms and articulation over several chords.  The bulk of the melodic content here centers around these familiar notes and is enhanced with added harmonies and arranging between strings and piano.  It works well as a bridge, breaking up the first half of the vocal sections before we get 3 repeated choruses and the outro.

Bridge

Lyrics

Nostalgia is a strong force.  These lyrics attempt to conjure that feeling in the listener.  In the context of aged baseball players reminiscing about their glory days, it succeeds.  Madonna sets the premise up quite clearly: "this used to be my playground," expanding the description by telling us how it was a safe haven of sorts.  As the verses kick in, she puts emphasis on "used to be," desperately trying to hold on to the past, making us question her current situation. 

The chorus rhyme scheme follows ABCB with the post chorus using its own AAB theme.  The verse consists of 3 sets of ABB rhymes, though the second verse deviates from that in the first stanza.  

The line that may best sum up the lyrical content happens in the 2nd verse:

say goodbye to yesterday

those are words I'll never say

While she is attempting to move on and acknowledge the past is gone, she can't bring herself to do it.  This is certainly a relatable sentiment for most people.  We get a little more context to the entire meaning of the song in the outro with the closing lines of the piece:

The best things in life are always free

wishing you were here with me

In 1990 like year before and years to come, people can easily relate to songs about lost love and friendship.  This last line eloquently and simply states this point.

Common Threads

 

What common musical elements do no.1 hits through decades share?  That's one of the mission statements of this project.  After I complete each analysis, I attempt to find some of these common threads.  So far, I have used songs from 2011, 2001, 1991, 1981, 1971, 1961, 1962, 1972 and 1982 to inform this list.  Let's see how Madonna's 1992 contribution stacks up to that list of common musical elements.

Repetitive Melody -  This could be one of the poster children for this category.  She uses many similar note groupings to construct her melodies and these note groups reoccur in multiple sections and within the same section.  This melody, in other words, is very repetitive.  

Hook that Uses Title of the Song - Probably the most identifiable melodic component of the song, for sure.

Stepwise Motion Common in Melody - Lots of 2nds in this one.  There are a few minor thirds at work in the verse, but 2nds are the dominant interval.

+ Use of Vocal Harmony - the harmony and countermelody are important elements of the melodic presentation.

+ New Material at the End - though short, the outro does include a new chord sequence and melody.  It has been a few analyses since this element has shown up!

- Texture Changes - The entire tune uses similar texture throughout.  Yes, there are background vocals and arrangement elements that come and go throughout the song.  There is, however, this hue surrounding the general production that never lifts.  If anything, the intro has its own unique feel, but that never returns.  

- Strong motion of V- I - While there are several V-i resolutions, the quality of the V chord is ever changing.  When we finally do get a solid D7, it resolves EbMaj7.  Therefore, this doesn't quite make the cut. 

Chord Count: 12 -  Gmin, F/G, Gmin7/C EbMaj7, D7sus, Dmin7, D7, Bb/D, Bb/F, F, F/Eb, Cmin.  There would be more if I had counted all the variations on Cmin.  Either way, 12 chords is a lot to hear in a pop song.  Many of these though, are alterations on a base chord, but serve different functions in the grand harmonic scheme.  

Final Takeaways

  Like so many songs I have worked with, I did not like this one during the first few listens.  The keyboard sounds dated it and the over the top orchestra sound puts it in a sonic landscape I don't readily identify with.  I kept listening though.  What I found was a well crafted song with a surprisingly repetitive melody that works over multiple chords qualities.  

I'm not a Madonna scholar by any stretch of te imagination and had little to no recollection of this song.  Her singing did not blow me away and it's very different from some of the more iconic names I have analyzed in the same time period (Mariah Carey, Christina Aguilera , Brandy & Monica).  Despite all of this, I do like the song.  It has a palpable vibe and the hook is enduring, even if nothing else is particularly memorable.  My wife, my litmus test for many songs, somewhat accurately was able to hum the main hook on a cold ask, guided only by the title.  

I'm aware that Madonna has a legacy in pop music and many accolades to her name.  This song though, aside from the pressures in play when it was written, does not seem particularly reflective of those accolades.  If I continue this project long enough, I will no doubt come in contact with Madonna again.  Hopefully, then, I can hear something a little more exciting in the vocal department.

What do you think of "This Used To Be My Playground?"  Did you remember it from the movie?  Does the sound of the track hold up by today's standards?  Leave me a comment!

Up next time, the journey "on the 2's" takes us to 2002.  The song in question, a powerhouse that even I with my Phish colored jam band blinders on, could not escape.  June 29th - August 10th, 7 weeks at no.1, "Hot In Herre" by Nelly dominates the charts!

[1]https://web.archive.org/web/20110830193214/http://www.sheppettibone.com/sp_erotica_diaries.htm

[2] https://www.deseret.com/1992/8/3/18997770/madonna-s-all-over-the-place-but-her-playground-is-not

"Eye of the Tiger" - Survivor, 1982

I remember seeing Rocky III  as a youngster and being enthralled.  If not for the appearance of Hulk Hogan, definitely for the inspiring story of Rocky Balboa.  The entire franchise was appealing to me; drama and violence set to catchy rock and roll.  Rocky I and II used on Bill Conti's "Gonna Fly Now," a cross genre blockbuster that spent a cool week at no.1 in 1977.  In 1982, Sly called an audible and the result would be one of the greatest rock songs ever.

I can't imagine getting a phone call from Sylvester Stallone requesting a song for his new movie because he was moved by my music.  If that wasn't surreal enough, churning out the demo just in time for the film's release and having it become HUGE must have fluffed the surrealistic pillow.  That's more or less the story of how Jim Peterik and Frankie Sullivan of Survivor wrote "Eye of the Tiger." [1]

Of all the songs I've analyzed in this project, this has to be one of the biggest.  If not in terms of record sales, certainly in longevity.  Now I don't go around blasting this in the car, but if it comes on, I'll listen and probably sing along and probably have a physical and emotional response in some way.  If those aren't hallmarks of a good song, I'm not sure what is.  

July 24th - August 28th, 1982: "Eye of the Tiger" by Survivor prowls around the no.1 position for 6 weeks!

The form of this song took me by surprise and is simpler than I gave it credit for.  The intro and outro are the cornerstones of the entire piece.  The intro starts with 4 measures of guitar that build with an ominous piano swell.  The next 16 measures are the main guitar riff that develops with rhythmic variance and added harmony.  Then things simmer down with 2 measures of the guitar pedaling on the root.  This little bumper, denoted as "I" above, is a reoccurring interlude.  The first time it returns, it lasts 2 measures and then doubles before heading into verse 3.  The outro features a similar sequence to the intro, adding in some synth swells before fading out.

Verse 1 is a doubled 16 measure section, with verses 2 and 3 lasting the standard 8.  Each verse is more or less the same, aside from lyrics.

The chorus is varied the third and final time, adding an extra measure on the climax of "he's watching us all in the eye...........of the tiger."  

There is no bridge in "Eye of the Tiger."  This is somewhat surprising, especially when considering the last 80's analysis ("Jesse's Girl" 1981).  The song doesn't really need a bridge though and accomplishes the mission of a kick ass motivational rock song without one.  The intro and outro are perfect bookends to the vocal sustenance.  

Chord Progressions

The iconic intro starts with the guitar pedaling 16th note C's.  We will hear this riff throughout the entire intro and outro, laying a tonal and rhythmic bed for the rest of the band.

Guitar Ostinato

As this rolls on for four measures, an ominous swell ushers in the first sense of tonality, the R-min7 motion in the famous power chord guitar riff.  This eventually leads to the Ab, or bVI chord, a staple in minor chord progressions.  Note the slight change in rhythm 6th measure below, off set by an eighth note.  

Intro Guitar Riff

After we hear the power chorded riff, the guitar changes roles and add harmony, filling out the chords:

Riff with harmony

The three chords presented in the intro will constitute the entire verse progression, through shifted around.  The intro works out to:

Cmin  Bb Cmin /    Bb Cmin /  Cmin  G   Ab  / (Ab)
i        bVII   i    /    bVII  i      /    i         V bVI /

The verse stabilizes and reorders them to:

Cmin   /   Ab   /  Bb   /  Cmin

i          /  bVI  / bVII /    i  

The bass plays an interesting role during the verse.  In the intro and through the first half of verses, it thumps quarter notes on a repeated C, flourishing with C minor licks every 4 bars.  In the second half of the verses, chord roots are followed and slightly different flourishes and articulations are incorporated.

Bass - verse sample

Verse 2 features background guitar harmonies that add a little spice to the familiar part. The tail end also features an adventurous flourish from Stephan Ellis, one of Survivor's revolving bassists.  The guitars sustain an Eb and G, shifting chord tones over Cmin (-3/5) and Ab (5/7), then drop down a step to line up with Bb (3/5).  It certainly has the 80's twin guitar feel.

Verse 2 - guitar harmony + bass fill

Moving along to the chorus, we get more of the same, this time enhanced with some slick syncopation and the addition of 2 new chords.  The guitar and piano interplay during the chorus looks something like this:

Chorus - Guitar and Piano Redux

The chord progression works out to be:

Bb    Cmin /  Fmin   /  Eb/G   Bb   / Fmin    /  Cmin  Bb

bVII   i      /   iv       /  III/V    bVII/  iv         /     i       bVII

Fmin  /  Eb/G     Bb  /  Fmin   Eb/G  /  Ab

iv      /   III/V   bVII /   iv        III/V  / bVI

Adding the minor iv chord into the mix gives the part a completely different feel.  Even though it's built around minor chords, it feels brighter than the verse thanks to the higher guitar chords.  The Eb/G almost acts as a Bbsus as the guitar's Eb resolves to D over the Bb in the bass.  I have heard this song hundreds of times and never bothered to really analyze what was happening in this section.  It is a great balance to the rest of the tune.

The last two measures feature a harmony with the vocal on the ascending lines, a third lower, doubled by guitar and bass.  The walk up F-G-Ab creates a perfect tension until the classic release "of the tiger."  

Melody

While the famous guitar riff is no doubt an important melodic statement in the song, let's look at the vocal melody.  The first time we hear Dave Bickler (who also sang "real men of genius" from those early 2000 Budweiser commercials!), he enters on beat 2, singing two words that most people know, "rising up."  

This double verse is well crafted, repeating rhythmic and melodic themes.  The first two 4 measure phrases begin on beat 2 with a similar pitch and rhythm patterns.  Throughout each phrase, the rhythm is altered but the pitch choices are similar.  G-Bb (5th and -7) over Cmin, G, F and Eb (7, 6 and 5) on Ab, F, Eb and G (5, 4 and 6) over Bb and a chord tone resolution in the 4th bar on C minor, Eb or G.  

Comparing the first 8 measures with the second 8, we see more repeated patterns, specifically the quarter note triplet figure in measures 6 and 14.

   

Verse 1

Each verse follows this basic melodic structure.  I like how it maintains the same character but leaves plenty of room for variation, driven by the lyrics.  Every note is delivered with confidence and strength, very fitting to the musical style and message of the song.

The chorus begins with a subtle syncopation shared with the piano, entering on the + of beat 3 with the repeated dotted 8th figure.  The structure of most of the chorus is similar to the verse, sticking to note groupings for each chord.  Every F minor chord features repeated Ab's (-3) walking down through G and F to Eb (-3, 2, R, -7).  The 2nd and 6th measures use Eb, F and G, R-2-3 for Eb and 5-6 for Bb, similar intervals as in the verse.  

Chorus

The end of the chorus has the climax to the song and one of the hooks "and he's watching us all in the eye of the tiger."  This part kills on a few levels.  First, the ascending line that moves up two steps then down one until reaching the top C is a familiar pattern and very dramatic.  The way the F minor scale (F, G, Ab, Bb, C) works over the shifting chords adds to the drama.  When it the C is held over Ab, now the 3rd, it has the intense open quality.  The band tacet on beat 3 an the prolonged completion of the phrase, "of the tiger," is just a classic moment.    

Lyrics

While the lyrics to "Eye of the Tiger" are not very poetic or profound, they are motivational, especially if your name is Rocky Balboa and you're training to fight Clubber Lang in a championship boxing match.  

For a song to be universally motivational, the language has to be to the point without much room for interpretation.  Survivor does a good job of telling the story about a beaten person developing "the eye of the tiger" and "rising up to the challenge of their rivals."  The chorus gives this sentiment particularly well!  

Apparently, the original version of the song only featured two verses and Stallone requested a third verse. [1]  If this story is true, then according to Lyric Genius, verse 2 may be the additional verse, directly influenced by the movie. [2]  In reality, the whole song seems to be written directly about the plight of Mr. Balboa; Everyman's journey from poverty to prosperity, if you will...

The verse rhyme scheme follows ABAC.  The C line, in fact, is "survive" three times and "alive" once.  Note the use of "survivor" in the chorus as well.  Any band who can regularly reference their own band name is okay by me.  I mean Iron Maiden has a song called "Iron Maiden" and Black Sabbath has a song called "Black Sabbath."  Not that this song shares the band's name, but a little self promotion isn't a bad thing. 

Common Threads

Are there common musical elements shared by no.1 hits throughout the decades?  That's what I'm hoping to find out.  For every analysis, I compiled some potential shared elements and investigate how they are utilized in various no.1 songs.  Building off the list from last time, with Gilbert O'Sullivan's "Alone Again (Naturally)," let's see how "Eye of the Tiger" fits in:

Repetitive Melody -  'Eye of the Tiger" has a lot of repetition.  The main guitar riff, the vocal melody from verse to verse, as well as chorus to chorus, along with melodic conventions within each section use repetition liberally.  

Texture Changes - While they are few, the texture changes are prominent.  The isolated guitar playing a single note is an enduring texture for this song and rock music in general.  The sparse entrance of the rhythm section stabbing out the chord melodies is another classic sound, reminiscent of "stop rhythm" choruses in blues music.  Then there is the pulsing verses contrasted with the brighter choruses, complete with octave guitars....lots of texture changes here for sure.    

Hook that Uses Title of the Song - I couldn't even make up my mind which "eye of the tiger" hook was more catchy!

Stepwise Motion Common in Melody - Steps and minor thirds have the "Eye of the Tiger."  The verses and chorus definitely rely on 2nds.

- Strong motion of V- I - We see lots of bVI -i resolutions, common for songs in a minor key.

Hold Overs

- Use of Vocal Harmony - no background vocals!  The second one in 9 analyses.

- New Material at the End -  While the coda may seem new, it's the same as the intro

Chord Count: 6 - Cmin, Bb, G5, Ab, Fmin, Eb/G - I lumped the power chords in with their triadic brothers.  After hearing this song my entire life, I expected less chords.  6 is a solid number for a relatively straightforward tune.

For such an iconic song, I'm not surprised to see some of these commonalities.  The melody is repetitive, built on diatonic steps with lyrics that are easy to relate with.  The end result is a catchy tune that elicits feeling from the first note.  

Final Takeaways

"Eye of the Tiger" has to be included on a list of songs I learned to play early in my musical training.  I took a life changing course in high school called "instrumental workshop" that offered non-band instrumentalists an opportunity to play in a rock band setting.  There was a class book filled with classic rock songs every young player should get the chance to play and not surprisingly, "Eye of the Tiger" was there.  Funnily enough, it was always considered "hard," mostly due to the clunky rhythm of the chorus.

As an elementary school music teacher, this song comes up regularly.  When kids reach upper elementary and their parents expose them to Rocky, they request the guitar toting music teacher (me) to serenade them with Rocky's training music.  It is also adaptable to play on recorder, a genuinely fun melody on that instrument (B  BAB   BAB   BAG).   Funnily enough, in all of my experience with the song, I have been playing it wrong for all those years!  It's nice to finally know exactly what they are playing in the main riff and chorus.  Sorry for getting it wrong all those years Survivor!

Given my experience, I half expected to be tired of it heading into this analysis.  While I don't plan on rocking out to it in my "off" time, I was happy to learn it in this context and even enjoyed it.  For an almost 40 year old song, it has aged well.  It has intensity, nostalgia, a relevant message and a catchy melody you can't help singing along with.  While it may be lacking a bridge or any serious variation from section to section, it serves its function well.  What more could you want in a motivational rock song that makes you want to kick life's ass?  

What do you think of "Eye of the Tiger?"  Does it hold up as a no.1 hit?  I am the only musician who has been playing it incorrectly for 20 years?  Leave me a comment!

Up next time, we head to 1992, the next stop "on the 2's."  August 8th, 1992, snugly nestled between the 5 week run of Sir Mix-A-Lot's "Baby Got Back" and the monumental 13 week run of Boys II Men's "End of the Road," we get a one week flash in the pan.  "This Used To Be My Playground" by Madonna.  I have been strictly adhering to songs no.1 in the first week of August.  Madonna's entry sneaks in between two very well known songs.  I am unfamiliar with this one, so given my track record "on the 2's," I could be in for a pleasant surprise?   

[1]https://www.tennessean.com/story/entertainment/music/story-behind-the-song/2015/02/14/eye-toger-jim-peterik-rocky-sylvester-stallone/23316471/

[2]https://genius.com/2086242

"Alone Again (Naturally)" - Gilbert O'Sullivan, 1972

 One of the greatest joys this project has given me is exposure to new music, new to me, anyway.  When I looked up the no.1 hit around august of 1972, I was completely unaware of Gilbert O'Sullivan and was impressed with a 4 week run at no.1.  Upon further digging, I discovered that a week after being dethroned (by Looking Glass's "Brandy"), it climbed back to no.1 for two more weeks!  

In 1972, Roberta Flack's "The First Time I Ever Saw Your Face" stayed at no.1 for 6 consecutive weeks, the longest running no.1 that year.  To put this into a little context, earlier in the year, "American Pie" by Don McLean hit no.1 for 4 weeks.  Other notable entries in the no.1 position that year included "Lean On Me" by Bill Withers, "Heart of Gold" by Neil Young and "Let's Stay Together" by Al Green.

I'm trying to convey that fact that"Alone Again (Naturally)" was in fine company.   When I first listened to it, it seemed dated, but in a good way.  Gilbert O'Sullivan's sound reminds me of Burt Bacharach meets The Beatles, another complimentary comparison.  As I continued to listen, I became obsessed with the delicate balance of complexity and simplicity.  Musically, this one is a bit of an outlier.  It is, however, a killer song!  Hopefully I can figure out how this obscure classic reached such popular heights on a musical level.

July 29th - August 19th; September 2nd - 9th, 1972: "Alone Again (Naturally)" by Gilbert O'Sullivan lasts 6 non-consecutive weeks at no.1!

Looking at the form, it's strikingly simple.  Each verse is a 16 measure cycle.  The way each A section is structured reminds me of a jazz standard, repeating the changes and the same melody each time with little variation, aside from lyrics.  After two verses, we get a 6 measure bridge that leads to the back half of the tune. There, we find two more verses, one of which features a guitar playing the vocal melody, before the song tags the hook.   

While there is no formal chorus, each verse contains a refrain: "alone again, naturally."  This refrain is even heard in the guitar solo verse and is used as a fitting ending.  I'd like to think the simplicity of the form, along with easily understood and relatable lyrics provides a balance to the complex chords and melody that comprise each section?

In a way, I see similarities with "In The Year 2525" by Zager & Evans from 1969.  That featured 11 verses with no chorus: AAA or strophic form.  While "Along Again" does contain a short bridge, the A section is the main attraction.  This type of song composition is surprising to see in a pop song, and I am continuously surprised as I learn more about Gilbert O'Sullivan.  UPI (United Press International) gave him a "Shlock Rock Trophy" and called him "the worst potential influence on the direction of pop music since Tiny Tim" in the wake of his success. [1]  While I actively disagree, it does affirm my suspicions that, despite success on the charts, this song must have seemed strange to listeners in 1972.

Chord Progressions

Why do I keep referring to this song as strange and obscure?  Get ready.....it's all in the harmony.  The 4 measure intro gives us a small taste of what's to come:

F#     /  A#min7  / G#min C#7b9  / F#6  F#
I       /   iii           /  ii           V         /  I

Very rarely in pop music does a iii chord resolve to ii.  Usually, we get iii - IV or iii - vi.  The b9 sound on the dominant chord sticks out as a little dissonant, usually reserved for resolving to a minor chord in the home key.  Instead, we get a major 6 chord.  When the vocal comes in, the first two measures repeat, then things go way out!  Below is the full 16 measure A section:

Verse (A) Chord Changes

  In the third measure, we begin a ii-V sequence to G#min (ii), moving through some half diminished chords.  This is a very unusual sound in pop music and is comes off quite dissonant.  While it strangely works with the gloomy lyrics, it is certainly surprising. (The A#min7b5/C# chord could also be viewed as a C#min6, resulting in v/F# or even iv/G#min).  When we finally arrive at G#min7, that gets altered to G#min7b5 (half diminished).  If you think of G#min7b5 as B minor 6, that acts as the iv chord, moving back to F#.  You could also think about it as the ii min7b5 of F# minor.  When it resolves, we get F# major instead of the more appropriate minor.  Either way it feels like home. 

Measures 7 and 8 keep evolving with an chromatically ascending inner voice: F# - F# + - F#6; C# - D - D#.  While this is just the glorified I chord, if you look at where we are going, they take on different function.  Measure 9 rests on A# minor.  To get there, F#+ could be considered the V of D# (A#,CX (D) root and 3rd); D# minor and F7 are iv and V of A# minor.  These two bars provide some interesting voice leading to get us back to the iii chord, now the second time we've resolved there.

Measures 9 through 12 rehash measures 1-6, only they move more quickly through the changes.  When you hear them the second time, they sound less dissonant, especially when we hear the last 4 bars of the progression, a familiar iii-VI-ii-V pattern in the home key.  With 10 chords in the verse alone, I think we may have a new contender for "most chords used in a pop song."  I'm not sure Tiny Tim's music can boast that kind of chord volume!

The bridge of the song modulates to A major, a minor third higher.  There we see a 6 measure section:

A    /   E  / G#min7b5  C#7b9 / A   D#min7b5 / C#maj7   / G#min7  C#b9
I     /  V   /  ii/vi            V/vi   /  I     ii/III          / III             /  ii/F#       V/F#

The bridge continues to use half diminished chords to get to new places.  Like the verse, the III chord (C# major) is used as a resting point. The last two measures sneakily get us back to F# with a good ol ii-V.  

Verse 3 - arrangement highlights

The last verse uses the same 16 measure progression but adds in a tag over the last two measures.  To get there, he goes through another round of iii-VI-ii-V.  Below, I pulled the melodic bits from the arrangement to highlight the progression.  The arrangement is nicely split between strings, horn and flutes.  

 

Melody

16 measures is rather long for a pop melody.  There are certainly 16 measure sections, usually composed of smaller repeated chunks.  That is not the case here.  There are repeated rhythmic cells as well as melodic motifs, but they are spread out in a way where repetition is not glaringly obvious.  For this analysis, we will look at the first verse.  

Right away we hear 16th notes that gradually become more syncopated.  In the first two measures, chord tones are used with rhythmic anticipation into the next bar.  Measures 2-4 expand on this with more rhythmic variance and a killer descending line from E to G natural, major 3rd of D#7.  

Verse 1 - meas. 1-8

Measures 5 -6 repeat melody chunks, B and G#, chord tones over the shifting G#min, root and minor 3rd.  Measures 7-8 expand this, now using F#, G# and A# in similar rhythms; root, 2nd and 3rd of F#.  An ascending line brings us up to the F7, touching chord tones all the way.

Measure 9, below, continues the repeated note motif, this time with A#, B# and C#, root, 2nd and minor 3rd of A#min.  Measures 10-11 return to the descending line we saw in meas.3-4, this time only getting as low as G#.  Measure 12 is unique, touching on 4th, minor 3rd and minor 7 of G#min7b5.  The lyric "remaining" also sounds very low after all the high crooning.

Verse 1 - meas.9-16

Measures 13 and 14 are similar to the opening measures of the section, taking less time to get to the high note, E# (F).  We then hear the hook, sequences of 2nds and 3rds with a huge leap down a minor 7th in between.  The very last measure is a sample of the impressive guitar arpeggios that permeate each verse.  There, the guitar descends through the scale, A#, G#, F#, E#, arpeggiating the F#6 chord along the way.  

The bridge uses some familiar conventions like 16th note syncopation and descending scales through chord tones.  While it sounds different, it is similar in character.  Notice how the "what do we do" line has a similar feel and syllable count to "naturally."

Bridge

 The bridge is the most "out" with a suspension to the 4th over the A chord and the b9 and b7 usage in the 4th measure over the C#7b9; still chords, but less obvious ones than the verse.  Other than that, notes are generally resolved pleasantly and in an expected way, even if the harmony is moving very unexpectedly.  

Summarizing this mammoth melody, the most unifying factor is use of chord tones.  Given the dissonant harmony, I think that's the only way the melody could work. Rhythmically speaking, this melody gets around.  We see almost every 16th-8th syncopation you can think of....except 16th-8th-16th.  There are many spots where the same pattern repeats a few times before it gets varied.  It is a wonder it works so well.  The element that makes it work has to be:

Lyrics

Songs that hint at suicide have a certain aura.  They are usually dark and depressing, loved or hated, depending on your emotional capacity and tolerance.  "Alone Again" goes there quite a bit, capping it off with a more universal feeling of loneliness.  While the lyrics do fit the music quite well, it's still surprising to me that this song was so popular.

Verse 1 flirts with suicide after being left at the wedding altar.  The second verse presumably continues this tale of woe with the narrator contemplating the existence of God. The final verse deals with losing aging parents.  Heavy stuff all the way through, delivered with a melancholy matter of factness.  

The rhyme scheme is complex.  First off, the verse is so long and lines blend together so often, it's hard to get a sense of properly segmented phrases.  There are also many internal rhymes that further muddle the mixture.  Here is verse 2 with the rhymes underlined. 

Looking back over the years

And whatever else that appears

I remember I cried when my father died

Never wishing to hide the tears

And at sixty-five years old

My mother, God rest her soul

Couldn't understand why the only man

She had ever loved had been taken

Leaving her to start with a heart so badly broken

Despite encouragement from me

No words were ever spoken

And when she passed away

I cried and cried all day

Alone again, naturally

   

  There is a hint of AABBA that gets disrupted the 2nd time with "taken."  The third chunk then adds AABBCCD, with "naturally" acting as the refrain and un-rhymed line.  The other verses are similar in this approach.  

I implore you to read the lyrics while listening to get a full sense of how well they compliment the music.  Maybe that's to blame for the song's success.  There is a somber feeling that comes from listening, that despite the apparent unpleasantness, smothers you like a dark warm blanket.  You know it's sad but it doesn't stop you from wanting more.  Way to be Gilbert O'Sullivan!

Common Threads

For the past 7 song analyses, I have compiled a list of common musical elements in each no.1 

hit.  Last time, I looked at "Breaking Up Is Hard To Do" by Neil Sedaka from 1962.  Let's see how "Alone Again" figures into some of these commonalities:

Repetitive Melody -  This one barely qualifies.  As noted, the primary 16 bar melody borrows from itself on several occasions.  It is also repeated 4 times throughout the song.  Note, this is not the type of repetition pop songs usually employ.  Generally, we hear phrases repeated throughout a section.  This is certainly different, but repetitive none-the-less. 

Texture Changes - again, this one is barely sliding in.  The arrangement features strings, flutes and French horn adding background pads and melodies throughout.  We also hear classical guitar arpeggios ripping in the background.  While each verse has these elements, they are varied in intensity from verse to verse.  The guitar solo verse provides an actual texture change.   

Hook that Uses Title of the Song - yes, though the "hook" is relatively weak in terms of strong melodic hooks.  It's really the only candidate for hook as it repeats five times, like a good refrain should.

Strong motion of V- I - There are many resolutions of V-I.  There are several other resolutions, but it technically qualifies.

+ Stepwise Motion Common in Melody - While there are other intervals used, 2nds are mostly dominant in the melody.  

- Use of Vocal Harmony - no background vocals!  This is a first in 8 analyses.

(hold overs: - new material at the end -  the hook gets the tag ending)

Chord Count - 14 - F#, F#6, F#+, A#min7, A#min7b5, D#7b9, G#min7, G#min7b5, C#7b9, A, E, C#Maj7, F7, D#min7b5 

We have a new winner!  Wow, that's a lot of chords.  Last time, "Breaking Up Is Hard To Do" took the lead with 12 chords.  This one is going to be tough to beat!

I have to say there are more common threads than I initially expected.  For as strange as the harmony is, there are many strong cadences, a trend more prevalent in older decades.  The melody, though lengthy, is repetitious, which is somewhat expected.  Repetitive melody has been an enduring common thread through every analysis I have done.    

Final Takeaways

This tune hit me hard.  I certainly did not expect to admire it so much.  It was a thrilling challenge to transcribe with every chord change becoming an exciting discovery.  In a rare move, I listened to the entire record, Back to Front.  It has some charming moments, even though the 70's sound is a little grading after a while.  "Alone Again" is the album closer.  I'm not sure if that was a ploy to get people to listen all the way through or not.  In any case, I was happy to learn about Gilbert O'Sullivan and his music.

I'm still taken aback by the harmony.  In perusing my end of round recaps, no song has the same complexity.  The closest might be "Magic" by Olivia Newton John from 1980.   But that one had a definite verse and chorus and repeated dissonant harmony enough that it sounded "normal."  I became obsessed with playing and singing that one on my acoustic guitar.  It's safe to add "Alone Again" to my playlist of "obscure no.1 hits."

One explanation for "Alone Again's" rise to the top may be the state of the world at the time.  Tom Breihan's "The Number Ones" series does a nice job of summarizing the toils of the early 70's.  He also touches on a lawsuit involving good old Gilbert and Biz Markie......Gilbert won in case you were wondering. [2]

What do you think of "Alone Again (Naturally)?"  If you were alive when the song came out, do you remember the mass appeal?  Are you surprised it made no.1 twice and was tied with the longest running no.1 single from 1972!?!?  Leave me a comment!

Up next time, we continue to the assault "on the 2's," travelling to my birth year, 1982! July 24th - August 28th, 1982: "Eye Of The Tiger" by Survivor!  I know this one quite well and look forward to diving into the transcription!  This should be a fun one to add to the catalog of no.1 hits through the decades! 

[1] https://www.superseventies.com/1972_2singles.html

[2]https://www.stereogum.com/2034341/the-number-ones-gilbert-osullivans-alone-again-naturally/franchises/columns/the-number-ones/