{"id":51389,"date":"2021-07-14T09:02:15","date_gmt":"2021-07-14T14:02:15","guid":{"rendered":"https:\/\/producelikeapro.com\/blog\/?p=51389"},"modified":"2021-07-15T11:57:58","modified_gmt":"2021-07-15T16:57:58","slug":"come-on-eileen-dexys-midnight-runners","status":"publish","type":"post","link":"https:\/\/producelikeapro.com\/blog\/come-on-eileen-dexys-midnight-runners\/","title":{"rendered":"Multiple Tempo, Meter and Key Changes Created This #1 Hit &#8211; \u201cCome On Eileen\u201d (Dexys Midnight Runners)"},"content":{"rendered":"<div class=\"produ-leaderboard-placement\" style=\"margin-left: auto;margin-right: auto;text-align: center;margin-bottom: 30px!important;\" id=\"produ-3958205288\"><script async=\"async\" src=\"https:\/\/securepubads.g.doubleclick.net\/tag\/js\/gpt.js\"><\/script>\n<script> var googletag = googletag || {}; googletag.cmd = googletag.cmd || [];<\/script>\n<div id=\"gpt-ad-8338563897811-0\">\n  <script>\n\tgoogletag.cmd.push(function() {\n\t\t\t\tgoogletag.defineSlot( '\/21927241144\/728x90-Leaderboard', [728,90], 'gpt-ad-8338563897811-0' )\n\t\t.addService(googletag.pubads());\n\t\t\t\twindow.advadsGamEmptySlotsTimers = window.advadsGamEmptySlotsTimers || {};\n\t\tconst timers                     = window.advadsGamEmptySlotsTimers;\n\n\t\ttimers['gpt-ad-8338563897811-0'] = setTimeout( function () {\n\t\t\tconst id = 'gpt-ad-8338563897811-0';\n\t\t\tdocument.dispatchEvent( new CustomEvent( 'aagam_empty_slot', {detail: id} ) );\n\t\t\tdelete ( timers[id] );\n\t\t}, 1000 );\n\n\t\tif ( typeof window.advadsGamHasEmptySlotListener === 'undefined' ) {\n\t\t\tgoogletag.pubads().addEventListener( 'slotRequested', function ( ev ) {\n\t\t\t\tconst id = ev.slot.getSlotElementId();\n\t\t\t\tif ( typeof timers[id] === 'undefined' ) {\n\t\t\t\t\treturn;\n\t\t\t\t}\n\t\t\t\tclearTimeout( timers[id] );\n\t\t\t\ttimers[id] = setTimeout( function () {\n\t\t\t\t\tdocument.dispatchEvent( new CustomEvent( 'aagam_empty_slot', {detail: id} ) );\n\t\t\t\t\tdelete ( timers[id] );\n\t\t\t\t}, 2500 );\n\t\t\t} );\n\t\t\tgoogletag.pubads().addEventListener( 'slotResponseReceived', function ( ev ) {\n\t\t\t\tconst id = ev.slot.getSlotElementId();\n\t\t\t\tif ( typeof timers[id] !== 'undefined' ) {\n\t\t\t\t\tclearTimeout( timers[id] );\n\t\t\t\t\tdelete ( timers[id] );\n\t\t\t\t}\n\t\t\t\tif ( ! ev.slot.getResponseInformation() ) {\n\t\t\t\t\tdocument.dispatchEvent( new CustomEvent( 'aagam_empty_slot', {detail: id} ) );\n\t\t\t\t}\n\t\t\t} );\n\t\t\twindow.advadsGamHasEmptySlotListener = true;\n\t\t}\n\n\t\tgoogletag.enableServices();\n\t\tgoogletag.display( 'gpt-ad-8338563897811-0' );\n\t} );\n  <\/script>\n<\/div>\n<\/div>[vc_row][vc_column][vc_column_text]\n<div class=\"page\" title=\"Page 1\"><\/div>\n<p><em>Written by Caitlin Vaughn Carlos\u00a0<\/em><\/p>\n<p><span style=\"font-weight: 400;\">Commonly viewed as one of the best one-hit wonders of the 80\u2019s, Dexys Midnight Runners were actually one of the most important bands in the UK at the start of the decade.\u00a0 While they achieved early success in their home market, the band struggled keeping a steady lineup, constantly shifting their members, sound and even their look. But in 1982, Dexys Midnight Runners diverse sonic explorations had come together to create a sound unlike any of their peers &#8211; a fusion of Soul and celtic folk, with a punk attitude. Their massive hit \u201cCome on Eileen\u201d catapulted them into international success, even knocking Michael Jackson from his steady perch at the top of the charts in 1983. \u201cCome on Eileen\u201d challenged every expectation for a number one hit, containing three key changes, hidden meters and drastic tempo changes (not to mention a celtic fiddle introduction and an acapella folk song ending), and in doing so, created a brilliant track of infectious hooks and dynamic motion. <\/span><\/p>\n<p><span style=\"font-weight: 400;\">Dexys Midnight Runners was founded in 1978 in Birmingham England by Kevin Rowland and Kevin \u201cAl\u201d Archer after the breakup of their punk band &#8211; The Killjoys. Moving away from punk, the pair began immersing themselves in vintage Soul music and were heavily influenced by a movement in northern England called Northern Soul. This movement emerged out of Mod culture, as referenced in the band\u2019s name (\u201cdexys\u201d refers to Dexedrine &#8211; a drug favored by Northern Soul fans for its ability to keep them energized and dancing all night). Like its Mod roots, Northern Soul expressed a fascination with Motown and American Black popular music, especially from the mid-sixties.<\/span><\/p>\n<p><span style=\"font-weight: 400;\">This is reflected in the band\u2019s first hit, \u201cGeno,\u201d an homage to an American Soul musician &#8211; Geno Washington &#8211; who was stationed in England with the US Airforce in the early sixties. <\/span><span style=\"font-weight: 400;\">\u201cGeno\u201d was the band\u2019s first #1 single in the UK, released 4 months before the band\u2019s debut album, <\/span><i><span style=\"font-weight: 400;\">Searching for the Young Soul Rebels <\/span><\/i><span style=\"font-weight: 400;\">(1980)<\/span><b><i>. <\/i><\/b><span style=\"font-weight: 400;\">The album was also successful in the UK, peaking at number four. However, it wasn\u2019t until 1982, with \u201cCome on Eileen,\u201d that the band was able to break into the American market,\u00a0<\/span><\/p>\n<p><span style=\"font-weight: 400;\">\u201cCome on Eileen\u201d and the band\u2019s second album, <\/span><i><span style=\"font-weight: 400;\">Too-Rye-Ay <\/span><\/i><span style=\"font-weight: 400;\">(1982)<\/span><i><span style=\"font-weight: 400;\">, <\/span><\/i><span style=\"font-weight: 400;\">marks a drastic shift in Dexys Midnight Runners\u2019 sound and style. This was largely led by the leadership of Kevin Rowland, who was the band\u2019s primary songwriter. <\/span><span style=\"font-weight: 400;\">Rowland grew up in Wednesdfield, Wolverhampton England to Irish Catholic parents, spending ages 1-4 in Ireland before returning to England again for the rest of his upbringing. Rowland credits his Irish Catholic childhood having influenced much of his songwriting and artistic expression: \u201c<\/span><i><span style=\"font-weight: 400;\">I was always trying to get a bit of Irish into our music. My parents were Irish and the Troubles were still going on\u00a0 in Northern Ireland when we were writing the song. In &#8217;81, you couldn&#8217;t really talk to people about what was happening in Belfast. A lot of English people didn&#8217;t want to know, so I snuck in some Irish flavor.\u201d<\/span><\/i><\/p>\n<p><span style=\"font-weight: 400;\">The Irish influence can be found as early as the band\u2019s first single, \u201cDance Stance,\u201d which criticizes anti-Irish bias by referencing great literary figures (Oscar Wilde, Samuel Beckett, Edna O\u2019Brien, Laurence Sterne, Sean O\u2019Casey and Brendan Behan) from the country\u2019s history.\u00a0 Their debut album even showcased a photo of a young Catholic boy in Belfast. The boy is pictured carrying all of his possessions during the social and political unrest in Northern Ireland of the time. Rowland explained:<\/span> <i><span style=\"font-weight: 400;\">\u201cI wanted a picture of unrest. It could have been from anywhere but I was secretly glad that it was from Ireland.\u201d<\/span><\/i><\/p>\n<p><span style=\"font-weight: 400;\">With \u201cCome on Eileen\u201d and the rest of the band\u2019s second album, Rowland took this Irish influence even further, blending Celtic strings and themes, with Soul\u2019s smoothness and brass. The first single to be released from this second album was called \u201cThe Celtic Soul Brothers,\u201d referring to Rowland\u2019s Irish background and the Scottish heritage of the band\u2019s trombone player, \u201cBig Jim\u201d Patterson. The band even changed its look to match the new sound. The ear-rings, coalman\u2019s jerkins, feathered berets and scarves of the band\u2019s first years were exchanged for denim overalls and peasant skirts and shawls.\u00a0<\/span><\/p>\n<p><span style=\"font-weight: 400;\">The album\u2019s title <\/span><i><span style=\"font-weight: 400;\">Too-Rye-Ay <\/span><\/i><span style=\"font-weight: 400;\">draws its name from a common Irish lyric. Rowland said he remembered hearing the line growing up: <\/span><i><span style=\"font-weight: 400;\">&#8220;\u2018Too-ra-loo-rye-ay\u2019 that I sing throughout is just an Irish thing thrown in. I heard it growing up, when my parents had friends over to sing on Saturday nights after returning from the pub.\u201d<\/span><\/i><span style=\"font-weight: 400;\"> Most listeners were probably familiar with the phrase through a 1913 Tin pan alley song by Irish-American composer James Royce Shannon &#8211; <\/span><span style=\"font-weight: 400;\">Too-Ra-Loo-Ra-Loo-Ral (That&#8217;s an Irish Lullaby). The song was recorded by a wide range of performers across the 20th century including Bing Crosby (1944)\u00a0 and Van Morrison with the Band (1976). <\/span><span style=\"font-weight: 400;\">Besides the album&#8217;s title, the phrase also repeatedly appears in the lyrics for \u201cCome On Eileen.\u201d\u00a0<\/span><\/p>\n<p><span style=\"font-weight: 400;\">More generally, the album changed the band\u2019s sound by bringing in a Celtic-sounding string ensemble alongside the brass. \u201cCome On Eileen\u201d was released with several, slightly different edits but the original single, famously opens with Helen O\u2019Hara\u2019s violin line playing a traditional Irish melody, commonly known through Thomas Moore\u2019s song \u201cBelieve Me, If All Those Endearing Young Charms.\u201d Further clarifying the reference, Rowland sings Moore\u2019s lyrics and the melody as a postlude to \u201cCome On Eileen.\u201d<\/span><\/p>\n<p><span style=\"font-weight: 400;\">The main lyrics to \u201cCome On Eileen\u201d\u00a0 were also intended to make a point about young desire in conflict with Rowland\u2019s Irish Catholic upbringing. Like any song that uses a direct name, fans have tried to figure out whether there really was an Eileen. Rowland\u2019s interviews over the years have given conflicting responses. More recently, he explained that the song imagines the figure of Eileen as a composite of many of his past experiences:\u00a0<\/span><\/p>\n<p><i><span style=\"font-weight: 400;\">\u201cFor years I told everyone that Eileen was my childhood girlfriend. In fact she was composite, to make a point about Catholic repression. On the Projected Passion Revue tour in 81 there was this girl interviewing us and she was going on about the spiritual nature of this music and I\u2019m thinking to myself: \u201cRight, but that\u2019s not what I\u2019m feeling at this moment \u2026\u201d She was really good looking, and I was reminded of being a teenager, surrounded by Irish Catholic girls you couldn\u2019t touch, but at the same time with these overpowering feelings of lust which you\u2019re not supposed to have.\u201d<\/span><\/i><\/p>\n<p><span style=\"font-weight: 400;\">\u201cCome On Eileen&#8221; developed out a different song that the band had been performing in their live shows called \u201cYes, Lets.\u201d\u00a0 Rowland credits it as a \u201crough draft\u201d of \u201cCome On Eileen.\u201d To rework the track, the band first focused on the rhythm, taking their inspiration from <\/span><span style=\"font-weight: 400;\">Unit 4+2&#8217;s &#8220;Concrete and Clay&#8221; and Tom Jones&#8217; &#8220;It&#8217;s Not Unusual.&#8221; Both songs have a similar underlying pulse, which they incorporated into \u201cCome on Eileen\u201d\u00a0 They also pulled some of the lyrics (but changed the melody) from \u201cYes, Let\u2019s,\u201d including the opening line of the verse\u00a0 (<\/span><span style=\"font-weight: 400;\">\u201c<\/span><span style=\"font-weight: 400;\">Poor Johnny Ray sounded so sad upon the radio\u201d). <\/span><span style=\"font-weight: 400;\">For the song\u2019s new chorus, they first wrote the lyrics as: <\/span><i><span style=\"font-weight: 400;\">&#8220;James, Stan and me \/ have this arrangement, you see \/ And they&#8217;re gonna help me \/ up from now.\u201d <\/span><\/i><span style=\"font-weight: 400;\">However, these lyrics didn\u2019t last long. After hearing his sister singing along to Squeeze\u2019s \u201cLabelled with Love\u201d while she was washing dishes in the kitchen, Rowland misheard the lyrics \u201cI, me and myself\u201d as \u201cEileen and Myself.\u201d\u00a0 Inspired, he began singing \u201cCome on Eileen\u201d instead of \u201cJames Stan and Me\u201d as a temporary, filler lyric for the chorus. The band soon realized the line was a strong hook and reworked all of the lyrics and the song\u2019s title to center around it.\u00a0\u00a0<\/span><\/p>\n<p><span style=\"font-weight: 400;\">While \u201cCome on Eileen\u201d cleverly weaves diverse influences, it is also quite remarkable for the way it brings together different tempi, keys and individual sounding sections. The song begins with the strings playing the tune to \u201c<\/span><span style=\"font-weight: 400;\">Believe Me, If All Those Endearing Young Charms\u201d in a Celtic-folk style. Then suddenly it breaks into a strong pulse and infectious groove in F major. The groove then pivots to C major for the verse and again to D major for the chorus (repeating these modulations on the second verse and chorus). After the second chorus, it stays in D major, but it completely changes the song\u2019s tempo, slowly accelerating over a march-like feel.\u00a0<\/span><\/p>\n<p><span style=\"font-weight: 400;\">Rhythmically, the band sneaks in several other interesting elements, including a bar of 2\/4 right at the key change between verse and chorus, as well as two bars of a stripped down pulse at the end of the first chorus. The song is constantly changing and shifting &#8211;\u00a0 keeping listeners on their toes.\u00a0 It finally ends with Rowland\u2019s a capella voice, singing Moore\u2019s \u201cBelieve Me, If All Those Endearing Young Charms.<\/span><\/p>\n<p><span style=\"font-weight: 400;\">The sound that came together for \u201cCome On, Eileen\u201d <\/span><span style=\"font-weight: 400;\">was completely different from anything else at the time &#8211; in part due to the band\u2019s completely unique instrumentation. While founding member Kevin Archer had quit the band after their first album, Rowland credits him with inspiring the new sound. Archer\u2019s new band, The Blue Ox Babes, recorded their first tracks with classical violinist Helen Bevington. When Rowland heard them, he wanted to incorporate some of what they were doing into Dexys\u2019 new album. He even recruited Bevington, giving her the stage name of Helen O\u2019Hara. <\/span><\/p>\n<p><span style=\"font-weight: 400;\">They also brought in Steve Brennan on violin, and Kevin \u201cBilly\u201d Adams on banjo, in addition to guitar. Adam\u2019s jangly banjo sound makes the whole track pop against the warmth of the band\u2019s warm brass and Rowland\u2019s creamy voice. The brass section was led by \u201cBig Jim Paterson\u201d on trombone, Brian Maurice on saxophone and Paul Speare on flute, saxophone and tin whistle. The song\u2019s infectious groove was carried by Seb Shelton on drums, alongside Giorgio Kilkenny and Steve Wynne on bass. Further enriching the song\u2019s sonic color, Mickey Billingham brings in organ, piano, and accordion. All of these individual talents are brought together in a deliciously eclectic mix of timbres and sounds across the song\u2019s constantly changing structure.\u00a0<\/span><\/p>\n<p><span style=\"font-weight: 400;\">\u201cCome on Eileen\u201d and the <\/span><i><span style=\"font-weight: 400;\">Too-rye-ay album<\/span><\/i><span style=\"font-weight: 400;\"> was recorded at Genetic Studios in Streatley.\u00a0 The studio was still quite new, started in 1980 by Martin Rushent and Alan Winstanley (the latter of whom co-produced Dexy Midnight Runner\u2019s <\/span><i><span style=\"font-weight: 400;\">Too-Rye-Ay<\/span><\/i><span style=\"font-weight: 400;\"> album). Rushent and Winstantley had built Genetic Studios out of the barn in the back of Rushent\u2019s home. The studio\u2019s first big success was the Human League\u2019s <\/span><i><span style=\"font-weight: 400;\">Dare <\/span><\/i><span style=\"font-weight: 400;\">album in 1981. After that &#8211; they upgraded the studio with a Solid State desk &#8211; which Dexys Midnight Runners would have used when they came in to record in early 1982.\u00a0<\/span><\/p>\n<p><span style=\"font-weight: 400;\">The <\/span><i><span style=\"font-weight: 400;\">Too-Rye-Ay <\/span><\/i><span style=\"font-weight: 400;\">album was produced by Clive Langer and Alan Winstanley who were quickly gaining a reputation as a production duo. Langer reflected: \u201c<\/span><i><span style=\"font-weight: 400;\">People became aware of us as a team because of the first Madness album and we consolidated it quite quickly with lots of other things. But it wasn&#8217;t until we did the Dexy&#8217;s album<\/span><\/i> <i><span style=\"font-weight: 400;\">Too\u2011Rye\u2011Ay that we started calling ourselves a partnership and telling record labels that we came as a package.\u201d<\/span><\/i><\/p>\n<p><span style=\"font-weight: 400;\">&#8220;Come On Eileen\u201d was released as a single on June 25, 1982, about a month before the <\/span><i><span style=\"font-weight: 400;\">Too-Rye-Ay <\/span><\/i><span style=\"font-weight: 400;\">album. The song topped the charts internationally, including the US, UK, Australia, Belgium, Ireland, New Zealand, South Africa, and Switzerland. It hit number two in Canada and was in the top ten throughout Europe. It won the Best British Single award at the 1983 Brit Awards.\u00a0<\/span><\/p>\n<p><span style=\"font-weight: 400;\">Dexys Midnight Runners had been popular and already achieved their first number one in the UK with \u201cGeno\u201d, but <\/span><i><span style=\"font-weight: 400;\">this<\/span><\/i><span style=\"font-weight: 400;\"> was the track that broke them into the US Market, even knocking Michael Jackson\u2019s \u201cBillie Jean\u201d from the number one spot.\u00a0 The song\u2019s singular sound was all their own, and it took the US by storm.\u00a0 Its music video received constant airplay on MTV at its release, further showcasing the band to the US Market.\u00a0<\/span><\/p>\n<p><span style=\"font-weight: 400;\">\u201cCome On Eileen\u201d was a massive hit in 1982, but the band did not survive the decade. They broke up in 1987 and did not record again until 2003. Despite the band\u2019s early success in the UK, Dexys Midnight Runners is often viewed as a \u201cone-hit-wonder\u201d because \u201cCome on Eileen\u201d was the band\u2019s only US success. However, the track was one of the decade&#8217;s biggest triumphs &#8211; a song which captivated audiences and fellow musicians. VH1 has since named it number one on their list of 100 Greatest One-Hit Wonders of the 80s, and number eighteen on their list of 100 Greatest Songs of the 80s.\u00a0 In a poll for ITV, the British public voted \u201cCome on Eileen\u201d number 6 for their favorite 1980s number one song.\u00a0 In eschewing the synthesizer in favor of strings and brass, Dexy Midnight Runners separated their sound from the rest of their peers and created a hook-filled, pop classic which sounds as fresh today as it did in 1982.<\/span><\/p>\n<p>&nbsp;<\/p>\n<p><strong>Watch the video to learn more about Dexys Midnight Runners and their hit song &#8220;Come On Eileen&#8221;!<\/strong>[\/vc_column_text][\/vc_column][\/vc_row][vc_row][vc_column][vc_raw_html]JTNDaWZyYW1lJTIwd2lkdGglM0QlMjI1NjAlMjIlMjBoZWlnaHQlM0QlMjIzMTUlMjIlMjBzcmMlM0QlMjJodHRwcyUzQSUyRiUyRnd3dy55b3V0dWJlLmNvbSUyRmVtYmVkJTJGTG95LXU2blk0MmclMjIlMjB0aXRsZSUzRCUyMllvdVR1YmUlMjB2aWRlbyUyMHBsYXllciUyMiUyMGZyYW1lYm9yZGVyJTNEJTIyMCUyMiUyMGFsbG93JTNEJTIyYWNjZWxlcm9tZXRlciUzQiUyMGF1dG9wbGF5JTNCJTIwY2xpcGJvYXJkLXdyaXRlJTNCJTIwZW5jcnlwdGVkLW1lZGlhJTNCJTIwZ3lyb3Njb3BlJTNCJTIwcGljdHVyZS1pbi1waWN0dXJlJTIyJTIwYWxsb3dmdWxsc2NyZWVuJTNFJTNDJTJGaWZyYW1lJTNF[\/vc_raw_html][\/vc_column][\/vc_row]\n","protected":false},"excerpt":{"rendered":"<p>[vc_row][vc_column][vc_column_text] Written by Caitlin Vaughn Carlos\u00a0 Commonly viewed as one of the best one-hit wonders of the 80\u2019s, Dexys Midnight Runners were actually one of the most important bands in the UK at the start of the decade.\u00a0 While they achieved early success in their home market, the band struggled keeping a steady lineup, constantly&hellip;<\/p>\n","protected":false},"author":25,"featured_media":51406,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"om_disable_all_campaigns":false,"_monsterinsights_skip_tracking":false,"_monsterinsights_sitenote_active":false,"_monsterinsights_sitenote_note":"","_monsterinsights_sitenote_category":0,"_uf_show_specific_survey":0,"_uf_disable_surveys":false,"footnotes":""},"categories":[1],"tags":[],"class_list":["post-51389","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-audio-engineering"],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v26.4 - 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