Love - "Softly to Me" (1966)

This song starts by moving back and forth between D minor and E minor. This is modal, but shifting back and forth between tonal centers: D dorian and E phrygian. At the end of the second line, though, it goes to D major instead of D minor. The D still feels like a tonal center, but with the next chord - a sort of D7 with an added 9th that's also heard in the intro - we soon find out that it's also modal (mixolydian).

The phrase modulation from D to B major that occurs in the bridge is easy enough, the F# in the melody being a common tone, but the move back from B major to the E minor to D minor progression is handled in a more difficult (and very beautiful) way. This occurs on the last note of the line "It's evident for anyone to see." On the two previous notes, we're on B, a common note between B major and E minor. The melody could have stayed on B on that last note of the line, when the chord changes to E minor, but instead it moves up to C, a non-chord tone.

To resolve the harmony, then, there is this really nice liaison between that last line of the bridge and the first line of the new (abbreviated) verse, "And I suppose they probably already do," where the melody doesn't land until the chord changes once again on the last note.

Oh-OK - "Choukoutien" (1983)

Incredible composition. Verses start with what sounds like a chorus refrain (containing the title word), but this line links to a consequent line and then an open-ended third line, forming an odd, and uniquely short, verse structure. Short enough that they put two of these verses at the beginning, followed by what seems at first to be a bridge. So far, the song has been going back and forth between A minor and F, but this new section starts moving between A minor and B minor, suggesting (but not defining) a new tonal center. This is derailed, however, by a Bb minor chord, an extremely clever pivot back to the original progression.*

And in moving back to the original progression to end this section (so crucial to the composition that you can't really call it a bridge), we hear half of what had previously been the first line of the verse, followed by a concluding couplet (with vocal harmonies introduced for the first time) that turns out to be another refrain!

Substance of the song continues to expand with a third verse, but from here on out it's all lost-in-the-mystery repeat, first the second section again and then the first verse, softer and with an added vocal harmony part, and the second section one last time, keeping the upper harmony part going.

All of this framed by the haunting two word refrain only heard at the very beginning and the very end.

* Bb minor would be the borrowed minor iv chord if we look at F major as the home key. (A minor is really the home key, but this at least gives us a common way of defining and understanding the Bb minor chord.)

Oh-OK: The Complete Recordings CD

The Urinals - "Black Hole" (1979)

How far-reaching is this? Expanded diatonicism by the use of all major chords, just like a garage band circa 1967. Clever (and very beautiful) use of vocal harmonies at the ends of lines in both the verses AND the chorus. All of this presented within a compositional and arrangement context that had its closest parallel with the New York no wave bands.

"Black Hole" on Lala.

Wire - "Outdoor Miner" (1978)

Really nice how this plays around with the descending vi-V-IV chord progression.

Verses each have a pair of rhyming phrases. The first phrase has less of a functional feel, starting on the IV chord and then going up to vi, from which it descends along the vi-V-IV. The precedent of going from IV to vi at the beginning of that phrase, though, sets up the next line. By ending the first line on the IV, they can move to the vi again and start the second phrase on that chord. That second phrase, then, is just vi-V-IV, a more recognizable, functional harmonic formula and the phrase that finally leads to the tonic chord that begins the chorus. (Note also that the more recognizable harmonic line is where they bring in the vocal harmonies.)

Last part of the song, the single verse with the different melodic lines and the abbreviated conclusion, is all quite pleasant.

"Outdoor Miner" on Lala.

R.E.M. - "Moral Kiosk" (1983)

Never realized before how big of a difference there is between the production on Chronic Town and Murmur. Maybe a big part of the appeal of Murmur is just how wet it is and yet how clear it is at the same time. On this track, the guitars are wet enough that they become a little obscured when the background vocals come in, but they're so crisp and clear on the verses and the two-line refrain.

Great example also of how R.E.M. were successfully blending things that were a little more harmonically abstract (the verses) with real power pop-oriented harmonic richness (the refrain).

"Moral Kiosk" on Lala.

The Beatles - "All My Loving" (1963)

Rhythm guitar part is marvelous and the choice of chord voicings helps provide a sense of consistency through the whole progression. The highest note of each chord, on the high E string, only moves about slightly, starting at F# for the F# minor and B major chords, moving up to G# for E major and C# minor, up to A for A major, and then back to F# for F# minor, D major, and B major. Contrast in the ending when we hear the high note all way up on the ninth fret for C# minor and the twelfth fret for the next-to-last E major chord.

Afterglow - "Chasing Rainbows" (1968)

A lovely harmonic structure throughout and some nice structural aspects. The first line of the chorus is an irregular three-bar phrase with words that rhyme with the last line of the preceding verse. This line is a part of the chorus and yet functions as a lead-in to what might be considered to be the chorus proper. The cymbal-less drum pattern heard in the instrumental intro returns in the bridge, which the composition is already plunging into at 0:43. Chorus returns afterward, but this time the lead-in involves two lines and goes for five bars instead of three. At this point, the composition is only at 1:19 and yet, already, it moves to its final segment: one more repetition of the very nice chorus.

Afterglow album on Amazon.

The Impressions - "Man Oh Man" (1965)

Holds together an arrangement at only about 74 beats per minute with fluidity, precision, and changes in dynamics. Really charming compositional elements in the way the bridge comes to a quick end (no rhyme at the end of the last line) and how the third verse repeats just because it's good enough to play it again.

"Man Oh Man" on Lala.

Every Mother's Son - "Come on Down to My Boat" (1967)

The intro is really remarkable on this. Very difficult to count or even hear where the upbeat or downbeat is. Excellent, unusual drumming continues throughout, particularly notable on the chorus. (Also note the fills at 1:43 and 2:13.)

"Come on Down to My Boat" on Lala.

Shonen Knife - "A Day of the Factory" (1983)

Excellent compositional craftsmanship on this song from their first album. Over three and a half minutes, but the intro is only thirteen seconds. One verse, and then a short refrain of a different melody over the same chords. Different chord progression used as a link and then back for the second verse, but they lay out for eight bars before it starts. Different words on the repeat of the refrain.

"A Day of the Factory" on Lala.

Boston - "Peace of Mind" (1976)

Slightly over five minutes, but nothing too out of the ordinary in its structure. Could easily have ended around the four-minute mark, but that instrumental coda, coming from the intro and building guitar harmonies upon the lengthy melody, goes on for over a minute to end the song. It's a progressive move, but so simple, so tightly constructed, and very charming.

"Peace of Mind" on Lala.

The Beatles - "Don't Bother Me" (1963)

The rhythm guitar is really nice on this - perhaps a bit of a precursor to the rhythm part on "I Feel Fine."

Klaatu - "Dear Christine" (1978)

Simplicity emerging out of progressivism, not as a retro style but as structural pristinity.

With only two verses, this song's nearly four minute duration comes primarily from repetitions of its beautiful chorus.

The entire Klaatu catalog (CDs, LP, and mp3s) on BullseyeSongs.com.

The Paley Brothers - "Too Good to Be True" (1978)

Here, it's the guitars that turn a fairly simple power pop song into a bit of a tour de force. Really unique and pleasant mixture of parts and tones, right through to the closing.

"Too Good to Be True" on Lala.

Shoes - "Too Late" (1979)

Such a period piece, and a very nice composition made great by the unusual vocal harmonies in the chorus.

"Too Late" on Amazon.