Find the Magic vol 1

Here are, in no special order, 20 of the most remarkable songs I have heard in the past 60 odd years - together with a brief pointer at what makes each one so special … There is of, course, an accompanying playlist which you will find here: https://open.spotify.com/playlist/3ERLke0Kn24tZRMqmNQSXV?si=b9207b2dad9e439d&pt=c2c0b9d036a9810400d6466c9b36dbc7

Track 1 My Boy Lollipop, Millie Small, My Boy Lollipop: The Best Of Millie Small 01/01/2010 

Written 8 years earlier and having undergone a gender change this song is generally considered to be the UK’s first hit ska record. One thing to note – apart from Millie’s schoolgirl vocals – is the rather incongruous harmonica track. Rhythm & Blues being huge in those days I guess there must have been a harmonica player standing around in the next studio. In those days (1964) singles had to be good, but not necessarily long (this one comes in at 2:00)

Track 2 Honey, Bobby Goldsboro: Honey 01/01/1968

A song so sad that it makes other notable sad songs sound like the hokey-cokey. If the lyric is not enough a heavenly choir and key change come in to announce the key moment of this tearjerking ballad (02:55). Bring a big box of tissues.

Track 3 The Night, Frankie Valli & The Four Seasons: Chameleon 01/05/1972

This one, which is not at all typical of the Four Season’s body of work – has mythical status on the Northern Soul circuit and features one of Frankie Vali’s best lead vocal tracks. Highlight is the extended pre-chorus section “So he paints a pretty picture”. And highlight of that is the push timing of ‘If he always keeps you dreamin', Frankie clearly in a hurry to get to the chorus. One of very few songs to be credibly described as being the best pop song ever recorded. 

Track 4 Like a Virgin, Madonna: Like a Virgin 12/11/1984

Not the greatest early Madonna single (that is Into the Groove) but this one is remarkable for Tony Thompson’s drumming. By the end you actually feel sorry for the drumkit. For more drum hi-jinks see track 17.

Track 5 Lions, Dire Straits: Dire Straits 07/10/1978

Standout track on Dire Straits’ debut album. Knopfler paints as vivid a picture of a city landmark as there is in song. You’ll never again walk across Trafalgar Square and not have this lyric ringing in your head. And what exactly is that crazy chord at 2:07 etc?

Track 6 Smells Like Teen Spirit, Nirvana: Nevermind 26/09/1991

We’ve all heard it so many times now but Cobain’s choice of Db5 as the 4th chord in this sequence (rather than the obvious Eb5) defies all expectations and marks him out as a very original talent. Also, when you don’t know what to play in the solo just go with the melody! 

Track 7 Can't Get You out of My Head, Kylie Minogue: Fever 01/10/2001

It’s all in the timing on this one with that percussive synth sound coming in at 2 and 4, notably in the verses. Not many diminished chords in pop but there is a fine one here at 1:12!

Track 8, Wuthering Heights, Kate Bush: The Kick Inside 17/02/1978

The chorus/outro section (pretty much all 1,4,5) is excellent as these things go. The bridge section (02:13 ‘ooh! Let me have it’ etc.) is better, but best of all are the two verse sections. To this day it seems amazing that there are only major chords right up until 00:33 ‘bad dreams in the night ..’ . Features some ultra melodic electric bass and a virtuoso outro guitar solo cutting through what is, possibly, a little too much orchestration. Number one single in the UK for what felt like years (but was actually 4 weeks) in March 1978.

Track 9 Billie Jean, Michael Jackson : Thriller 30/11/1982

Hard to know where to start here. There could well be hundreds of tracks in this mix from the defining synth bass and Hitchcockian violin arpeggios to MJ’s numerous vocal takes (my own favourite is the synth brass motif at 1:12, 1:20 etc) and there’s a little magic in nearly all of them. With each listen a new one pops up that you never noticed before (the whip crack in drum pattern 1 for example at 02:34). Safe to say that Quincy and his team must have spent hundreds of studio hours getting this one just right.

Track 10 Isn't She Lovely, Stevie Wonder: Songs In The Key Of Life 28/09/1976

You’d have thought that with his then partner having given birth within the past 60 seconds Stevie would have had something better to do than write a song, but Stevie being Stevie … In short if you are not filled with joy every time you hear the outro harmonica solo then music can’t really help you (see also Track 20). The piece comes in at 06:33 on Songs in the Key of Life (1976) and almost 4 minutes of this is Stevie’s second solo. Needless to say, by the end he is nowhere near running out of ideas. Only Greg Phillinganes of Toto gets to keep a keyboard track in this, Stevie having played over the top of everyone else’s.

Track 11 All The Things She Said, t.A.T.u.: 200 KM/H In The Wrong Lane 2002

While Trevor Horn, star producer of the 80s, and indeed 90’s and 00’s, made the huge international English language hit version much of the magic in ATTSS (the drumkit falling down the stairs intro, all those minor 9ths in the melody, the kitchen sink synth solo …) was already there in the Russian language original.

Track 12 Bette Davis Eyes, Kim Carnes: Mistaken Identity 01/01/1981

If ever a cover version eclipsed the original recording of a song, then this is it. And the reason? the remarkable synth riff which defines this 1981 classic. Interestingly even if you play it just right but without the exact patch used on the recording it just doesn’t sound nearly as good. Speaking of riffs, see Track 14.

Track 13 In The Air Tonight, Phil Collins: Face Value 01/01/1981

Curious pop single with this one with its 54s of electronic drum + sound effect intro then straight into the chorus rather than the verse! (talk about tearing up the rule book). But famously when it kicks off (3:43) it really kicks off. The point about the recording effect (gated reverb since you’re asking) which characterises this and many subsequent recordings from the period is how abruptly the drum sound disappears.

Track 14 On the Beach,Chris Rea: The Very Best of Chris Rea 15/10/2001

In pop, there’s the chord structure, there’s the lyric, there’s the melody etc. But often the crucial ingredient elevating a song to classic status is the riff (00:09). Interestingly there’s an alternative remix of this (Rea is quite a contrary guy-at the height of his pop career he seemed to despise the eurobeat hits which were making him rich and famous, preferring an authentic Delta Blues sound built on his prodigious ability with the slide guitar) without the song-defining riff. It doesn't sound half as good. (see also track 12) 

Track 15 Ride Like the Wind, Christopher Cross: Christopher Cross 1979

This one features the otherworldly vocals of the great—there is no other word for it—Michael McDonald, who manages to upstage the main artist on all the numerous songs on which he performs backing vocals (02:57). Also listen out for a half-asleep final mix engineer who omitted to turn up the volume on Christopher's outro electric-guitar solo—one of the finest ever recorded.

Track 16 Peg, Steely Dan: Aja 23/09/1977

Is it Pop? Is it Jazz? Is it Funk? Is it Big Band? Is it Fusion? Yes to all of these? Then it must be Steely Dan, the musician’s pop band. Inevitably highlight – among the virtuoso playing, cryptic lyrics and irresistible groove – is Michael Macdonald (him again) on BVs. It is him with the perfect high 3rd in the chorus.

Track 17 No Time This Time, The Police: Reggatta De Blanc 02/10/1979

This is the final track on the Police’s second album. With its indecipherable lyric, breakneck speed and careless production (‘What vocal effect shall we use?’ ‘just go with the default and turn it up to 10’) it is fair to assume that the purpose of this song is to showcase drummer Steward Copeland’s remarkable ability and energy. There are breaks in the outro section which do just this. Although the slow fade out has already kicked in by then do listen out for the one at 3:08 in particular.

Track 18 Uptown Top Ranking, Althea And Donna: Soul Jazz Records presents 300% DYNAMITE! Ska, Soul, Rocksteady, Funk and Dub in Jamaica 27/06/2025

Say Wha’!! No what did you say cause we didn’t understand a word! Althea and Donna had a combined age of about 16 when this was recorded and it remains the ultimate one hit wonder. The song that gave rise to a whole new Anglo-Jamaican lexicon. Strictly roots! Nah pop Na style.

Track 19 Run, New Order; Technique 30/01/1989

Manchester’s finest at their very best. A song so good that no intro is required – just Stephen Morris’s snare drum knock on the door (hence the song’s first line). Every kid who has ever picked up a solid electric in a guitar shop wants to get the tone of Bernard’s guitar in the main riff (00:32). With the possible exception of the Cure, no band has mixed analogue instruments with synths as successfully as New Order as the outro section of this track demonstrates (03:14 – 4:31). The interplay between the numerous themes which are added in this glorious build up is positively symphonic. Interestingly, the vocals on Run are done and dusted well before the midpoint, as befits Bernard Sumner – always the most reluctant of lead vocalists.

Track 20 I Wanna Dance with Somebody (Who Loves Me), Whitney Houston: Whitney 02/06/1987

All signature 80’s synth and percussion sounds, this track is remarkable for one thing and one thing only - the lead vocal. Whitney on such great form on this (her best recording) that she just has to start her lead track long before verse one begins (she had already recorded the ecstatic post second bridge section with its adlibs and riffing on the chorus – done first to ensure that it had the highest possible energy levels). Any day when I hear this song is a good one and you can’t say that about many recordings.