…yesterday, and I’m somewhat concerned. I’ve never done that with a song before; it was always twice, maximum, and then on to the next merry track.
I suppose I’ve a slight obsession with it.
It’s not the lyrical content, mind, it’s the way the song is played. From the clever drum fill at the beginning (nice pitch decay on the toms) to the talented background vocalists trying something new and using the microphone(s) to their advantage, this songs construction, despite its simplicity, really speaks to me.
The piece starts out in a standard fashion: 8 bar intro, into verse 1. The background singers are, oddly enough, at full throttle even this early, competing with the dominant tenor saxophone, thus roping the listener deep within the orchestration. Throughout the first verse, the groove is set with a simple mid-tempo 4/4 shuffle, never meandering from its course even through the seamless slide into verse 2, when the drummer smoothly makes a transition into catchy “squeeze-box” syncopations on the hi-hat without disturbing the rock-solid groove.
We then segue into the first chorus in which the intent of the piece is defined not with the ill use of side effects like a train whistle, but by maintaining a constant excitement utilizing the unfailing rhythm section as well as the keyboardist who is now tastefully introduced with a well chosen sine-wave voice playing chords and a flute voice playing melody.
On to verse 3, where a couple of chosen background singers demonstrate taste as well as vocal prowness by executing a vocal glissando over a descending fifth. It’s a safe guess to assume that this embellishment serves to release the tension brought about by the exciting chorus.
The fourth verse is reached, and is pursued in much the same way as the second verse, save for a few timely keyboard fills. This leads to the second chorus being introduced by more of the same from the synthesizer.
After the necessary adherance to form during the second chorus, we reach the bridge that is trying mightily to instill yet more excitement to the listener. This is where Ms. Easton rises from her already keen vocal delivery to an even higher plane as she surprises the listener with her range, charting a high A, then following up throughout with similar notes not quite as peaking.
We then arrive to the final chorus, in which all the stops are appropriately pulled, even managing a slick transition to one key higher during which the background vocalists are given a solo of sorts alongside Ms. Easton’s vocal improvisations. We hear the sax again into the fade.
This song is so cleverly played, it’s a small wonder that it spent two straight weeks at the number one position on the Billboard pop chart in 1981. This, as well as other pieces, is testament to the vitality qualified musicians can bring to a song, no matter how shallow it may seem from a look at the lyric sheet.
I hope I’m not alone in seeing this much from a normal pop song. Has anyone else been similarly taken?