A true classic, and a breakthrough US chart-topper for The Guess Who. Burton Cummings works his vocal register to the maximum with a series of climactic modulations throughout the song. These amazing build-ups, with their swelling dynamics would have you think that the song was coming to a dramatic close, time after time -- yet, each time he brings it back to a soft, sustainable, heartfelt balladeer's croon.
The electric piano riff, going from a closed voiced D Minor 7th to a closed voiced C Major 7th (played on an ancient electric piano -- the same instrument and settings as the Zombies used in She's Not There ) which opens the song is unmistakable and immortal.
Surprisingly, the 5th sus 7th to the Tonic (in this case, in the key of C, for example, the change is from an F chord with a G in the bass resolved to a C major 7th chord), repeated throughout the song, is actually part of the standard "signature" chording set forth by Gamble and Huff, as well as by many of the Motown and Philadelphia writers and arrangers whose works were performed by such soul groups as The Stylistics and The Spinners. This two-chord scheme builds a certain expectancy, a certain tension and a certain touch of drama to an song that encompasses it.
White men can jump.
If the YouTube video play does not magically appear below, simply click on these coordinates: http://www.youtube.com/watch?v=LfPJJko-FM0
Radio DAZZ: Produced by Douglas Castle
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