"I'm in Love Again" from the More Hits Album

[jobucats]

My favorite Supremes' album is More Hits. On my breakfast run this morning, I was listening to the last track, "I'm in Love Again" and actually fell in love again with the song.

Diana is using her lower to mid register in this song which comes across like syrup rather than the somewhat nasally, abrasive sound that was evident in much of her early work. With that said, I still enjoyed her distinctive voice quality.

Isn't this the song in which many are saying that Eddie Holland is also joining Mary and Florence on the background vocals? I always thought I was an astute musician; however, I'll admit that I often have difficulty in distinguishing if there is 3 part harmony going on in background vocals or if it's just 2 voices harmonizing. There's something about the closeness of the harmony parts that my brain can't tell if there is a 3rd part harmony in it.

Is Eddie Holland on this tune supplying providing a background harmony? Are there particular lines I could listen for to hear him?

Another observation...Again, I love Diana's vocal; however, there's just something about the way she pronounces/sings the word "instantly" which is slightly awkward. Maybe it's just the word itself.

[daviddh]

I was just listening to this.
Love it love it.love it
A gem.
Definite a favorite of mine

[sup_fan]

this was an elegant and wonderful way to end the lp.

[Motown Eddie]

My favorite Supremes' album is More Hits. On my breakfast run this morning, I was listening to the last track, "I'm in Love Again" and actually fell in love again with the song. Another observation...Again, I love Diana's vocal; however, there's just something about the way she pronounces/sings the word "instantly" which is slightly awkward. Maybe it's just the word itself.

I Agree; More Hits by The Supremes is my favorite LP by the group too. Don't know if Eddie Holland [or anyone else] is providing any background vocals to the song. And yes; the way that Diana sings the word 'instantly' on "I'm In Love Again" may be slightly awkward but somehow it works for the song.

[reese]

I love how she reads the line "I then felt born again..."

[westgrandboulevard]

I have to say I don't hear Eddie Holland, or any other male background voice on 'I'm In Love Again'.

I sense there could be at least one other female voice..although I can't be sure.

Interestingly, although 'I'm In Love Again' is the registered title, when sung it is 'I Am In Love Again'. Diana pronounces each syllable separately, and emphatically....as 'I', 'Am', 'In', 'Love', 'A-Gain'.....

Yes, it has always sounded to me too that Diana is making a real effort here to use her tongue to produce her diction ver-y care-ful-ly - maybe just a tad too care-ful-ly mannered.....and there's a roll of the tongue on the letter 'r' in 'through', first sentence.

Either a voice coach was working with Diana with her breathing, to help bring her voice down, while maintaining clear enunciation...or she had listened to another singer, and was emulating their vocal style. See if you can imagine Della Reese singing it, albeit in her very much lower vocal tones.....

Diana was still using that technique with the lyrics later in the year - for example, when recording 'Stranger In Paradise'...

But yes, for Diana to very clearly and emphatically enunciate each syllable does work particularly well with 'instantly', in projecting the sense of 'immediacy' that one word conveys....

[daviddesper]

I too remember liking this song at the time as one of the highlights on that album. In fact, as much as our Motown girl groups could romp and stomp with the best of them, each one of them proved themselves to be quite capable of handling a slower pace tune.

For example, I always liked He Doesn't Love Her Anymore from Watch Out!; I Can't Turn Around from the Pink Album; and the Velvelettes' B side Since You've Been Loving Me is cool too. I am sure the solo ladies had their softer sides as well but that would be too long a topic to go into.

[gman]

I'M IN LOVE AGAIN is one of my fav B sides/ LP tracks...I've always felt heartache and relief when listening to it...I also like Who Could Ever Doubt My Love, Always in My Heart and I'm Giving You Your Freedom too...I can "feel" them...
The Beginning of The End may be my fav DR lead B side...she handles the RnB flavored stuff nicely....I'm So Glad is another fav...

[TNSUN]

"I'm in Love Again" the b side to the 45 single "Stop in the Name of Love" should have been released as a single. Great song.Diana soars vocally here.

[jobucats]

Can I add one more interesting observation about this song? The verses are in the key of Bb, then there is a very subtle key modulation just before the refrain. The refrain is in the key of Eb. Just before the refrain moves back to the next verse, there is another subtle modulation taking the song back to the key of Bb. A key change like this, which I had never really noticed until this week, speaks highly of the astute talent of the songwriting team of H-D-H.

Key changes happen all the time in music; however, in this case, at least for me, it was not as blatant as in Beyonce's 'Love on Top' or even the Supremes' 'Baby Love,' and 'I Hear a Symphony.'

[drlorne]

I"ve caught that "Instantly" as well it's almost like she saying "Instantsly"

[jobeterob]

Excellent song from one of their best albums

It sounds like Mary and Florence - Mary drowned out by Florence

I don’t hear a male voice but I’m not great at this stuff

[brothadc]

Can I add one more interesting observation about this song? The verses are in the key of Bb, then there is a very subtle key modulation just before the refrain. The refrain is in the key of Eb. Just before the refrain moves back to the next verse, there is another subtle modulation taking the song back to the key of Bb. A key change like this, which I had never really noticed until this week, speaks highly of the astute talent of the songwriting team of H-D-H.

Key changes happen all the time in music; however, in this case, at least for me, it was not as blatant as in Beyonce's 'Love on Top' or even the Supremes' 'Baby Love,' and 'I Hear a Symphony.'

Well well jobucats, very cool that you named the two keys that the song was written in! Let's see how much more you know. Can you say what was done musically to transition from Bb to Eb, and then to transition from Eb back down to Bb?

[jobucats]

Well well jobucats, very cool that you named the two keys that the song was written in! Let's see how much more you know. Can you say what was done musically to transition from Bb to Eb, and then to transition from Eb back down to Bb?

hey brothadc....I'm a nerd as to chord patterns in songs [[HDH always had the best).

Here's what I came up with. The verses begin in the key of Bb. At the end of the first verse, Diana sings, "Now no more by myself." The chord goes to Fm for 4 beats, then Bb for 4 beats, then Eb for 4 beats, then a Cm for 4 beats on the phrase as she sings "No more hurt to be felt." Now we're at the chorus which is now in the key of Eb.

Now let's get back to the key of Bb on the next verse. At the end of the chorus, "Now that I am in love again. There is a quick, modulating, instrumental 4 beat chord transition in which the chords are in 2nd inversion...Eb-2 beats, Dm-1 beat, and Cm-1 beat and voila, we are back to the key of Bb for the next verse.

At least, that's what I'm hearing. I had to check myself out using my keyboard as the song was playing.

[lucky2012]

One of my favorite Supremes and HDH recordings and songs! More Hits remains my favorite Supremes album. It was also my first Supremes album and it opened up a whole new way of listening to music.

The hit singles from WDOLG to NBH were dazzling, so I didn't immediately appreciate I'm In Love Again and the other, simpler album tracks on first listen. But I'm a fast learner and I was hooked by the second listen.

I'm loving all the input on this thread in the last couple of days.

[brothadc]

hey brothadc....I'm a nerd as to chord patterns in songs [[HDH always had the best).

Here's what I came up with. The verses begin in the key of Bb. At the end of the first verse, Diana sings, "Now no more by myself." The chord goes to Fm for 4 beats, then Bb for 4 beats, then Eb for 4 beats, then a Cm for 4 beats on the phrase as she sings "No more hurt to be felt." Now we're at the chorus which is now in the key of Eb.

Now let's get back to the key of Bb on the next verse. At the end of the chorus, "Now that I am in love again. There is a quick, modulating, instrumental 4 beat chord transition in which the chords are in 2nd inversion...Eb-2 beats, Dm-1 beat, and Cm-1 beat and voila, we are back to the key of Bb for the next verse.

At least, that's what I'm hearing. I had to check myself out using my keyboard as the song was playing.

Hey jobucats! My man, you're VERY close! Not dead on it, but close enough for me to say "I'm impressed!" What you are absolutely right about is "the astute talent of the songwriting team of H-D-H". I've met, through Mickey Stevenson, Brian Holland, and I've have had the pleasure of working with him, and becoming friends with him, and I'm going to pass your compliment on to him! Now, back to the song.

What H-D-H very cleverly did for the first modulation was while sitting on the dominant chord of the key of Bb, which is F major, they used the melody notes of C, D, Eb as Diana sings "Now no more..." to very smoothly walk us into the new key of Eb. The first chords of the new key are Ab major for two beats then F minor for the third and fourth beats of the measure, BUT, technically the first chord is an Ab 6 because the note being sung in the background vocals is an F, which makes the progression of those first two chords of the new key smooth as silk!

Now we have a beautiful chorus is the key of Eb. The genius of H-D-H really shines here with the use of a minor chord on "long and sleepless..." and major chords on "now that I am in love again". Minor chords generate a feeling of sadness, and major chords generate a feeling of gladness. Also, by having the chorus modulate up the degree of a fourth, it gives the song quite a lift up which adds to the happy feeling of the content of the lyric.

To get us back to the key of Bb, more H-D-H musical genius! At the end of the chorus they sit on an Eb flat major chord, which is the root of the key we're about to leave, and it quickly transitions into the 4th degree of Bb, without even moving, by the use of the very next chords being an F major to an F dominant 7th.

Now I'd also like to add an observation in regards to the brilliant songwriting of Holland-Dozier-Holland. Their use of 1st and 2nd inversions of chords, and major 6 chords to me is unparalleled! Just for an example, since we're talking about "I'm In love Again", the song opens with the chord Bb major over F in the bass, which is a second inversion chord, and in addition to that it subversively moves from Bb major over F, to Bb major 6 over F, back to Bb major over F by having the backgrounds sing the notes F, GF, all in the first measure. Second measure, F major to F major 6 back to F major, also because of the notes being sung in the backgrounds. Wonderful!! The beautiful thing about 1st and 2nd inversion chords is the sonic illusions created by them. As I went about the business of learning to play a lot of Holland-Dozier-Holland songs, once I caught on that they did use a lot of major 6 chords, and 1st and 2nd inversions, two perfect examples being "Bernadette" and "Reflections", it opened up my ears and it started getting easier to learn them.

[BayouMotownMan]

Oh I can hear Eddie Holland clearly on the choruses. The ooooo's backing Ross might be just Flo and Mary but that is Eddie on the chorus. Eddie probably had a 4 octave range in his youth and if you listen to Send Me No Flowers on the WDOLG expanded edition you can hear him soaring in the background then break up laughing that he sounds like Sam Cooke. He is also on Always In My Heart.

[jobucats]

Hey jobucats! My man, you're VERY close! Not dead on it, but close enough for me to say "I'm impressed!" What you are absolutely right about is "the astute talent of the songwriting team of H-D-H". I've met, through Mickey Stevenson, Brian Holland, and I've have had the pleasure of working with him, and becoming friends with him, and I'm going to pass your compliment on to him! Now, back to the song.

What H-D-H very cleverly did for the first modulation was while sitting on the dominant chord of the key of Bb, which is F major, they used the melody notes of C, D, Eb as Diana sings "Now no more..." to very smoothly walk us into the new key of Eb. The first chords of the new key are Ab major for two beats then F minor for the third and fourth beats of the measure, BUT, technically the first chord is an Ab 6 because the note being sung in the background vocals is an F, which makes the progression of those first two chords of the new key smooth as silk!

Now we have a beautiful chorus is the key of Eb. The genius of H-D-H really shines here with the use of a minor chord on "long and sleepless..." and major chords on "now that I am in love again". Minor chords generate a feeling of sadness, and major chords generate a feeling of gladness. Also, by having the chorus modulate up the degree of a fourth, it gives the song quite a lift up which adds to the happy feeling of the content of the lyric.

To get us back to the key of Bb, more H-D-H musical genius! At the end of the chorus they sit on an Eb flat major chord, which is the root of the key we're about to leave, and it quickly transitions into the 4th degree of Bb, without even moving, by the use of the very next chords being an F major to an F dominant 7th.

Now I'd also like to add an observation in regards to the brilliant songwriting of Holland-Dozier-Holland. Their use of 1st and 2nd inversions of chords, and major 6 chords to me is unparalleled! Just for an example, since we're talking about "I'm In love Again", the song opens with the chord Bb major over F in the bass, which is a second inversion chord, and in addition to that it subversively moves from Bb major over F, to Bb major 6 over F, back to Bb major over F by having the backgrounds sing the notes F, GF, all in the first measure. Second measure, F major to F major 6 back to F major, also because of the notes being sung in the backgrounds. Wonderful!! The beautiful thing about 1st and 2nd inversion chords is the sonic illusions created by them. As I went about the business of learning to play a lot of Holland-Dozier-Holland songs, once I caught on that they did use a lot of major 6 chords, and 1st and 2nd inversions, two perfect examples being "Bernadette" and "Reflections", it opened up my ears and it started getting easier to learn them.

brothadc, You tricked me. LOL When you asked me to explain my thoughts on the transitioning from the key of Bb to Eb and then back to Bb, I thought I was going to be responding to a casual forum member---not to my music theory/composition teacher! LOL.

I really enjoyed reading your response and comparing it to what was going through my head. Being that you know and have worked with Brian Holland, wasn't it he and Lamont who mostly took on the role of the coming up with the melodies and chord progressions while Eddie's role was primarily lyricist?

Thank you again for your analysis of the musical structure this simple, yet powerful song. I do a lot of writing and recording of original instrumentals in the soft jazz/pop/r&b genre [[I am not a lyricist). Every now and then, I will channel H-D-H and come up with a quite acceptable, at least to me, composition/recording.

One more thing, over the last few years, I've become more aware of the importance of not just chords and chord progressions; but in the chord inversions and as you stated, "the sonic illusions created by them." One can either purposely want the listener to hear the chord changes overtly OR just want the chord changes to be so subtle that the listener barely notices what is being done musically.

Thanks again. Just to know that I, through this forum, know someone who knows Brian Holland means a lot to me.

[sup_fan]

brothadc, You tricked me. LOL When you asked me to explain my thoughts on the transitioning from the key of Bb to Eb and then back to Bb, I thought I was going to be responding to a casual forum member---not to my music theory/composition teacher! LOL.

I really enjoyed reading your response and comparing it to what was going through my head. Being that you know and have worked with Brian Holland, wasn't it he and Lamont who mostly took on the role of the coming up with the melodies and chord progressions while Eddie's role was primarily lyricist?

Thank you again for your analysis of the musical structure this simple, yet powerful song. I do a lot of writing and recording of original instrumentals in the soft jazz/pop/r&b genre [[I am not a lyricist). Every now and then, I will channel H-D-H and come up with a quite acceptable, at least to me, composition/recording.

One more thing, over the last few years, I've become more aware of the importance of not just chords and chord progressions; but in the chord inversions and as you stated, "the sonic illusions created by them." One can either purposely want the listener to hear the chord changes overtly OR just want the chord changes to be so subtle that the listener barely notices what is being done musically.

Thanks again. Just to know that I, through this forum, know someone who knows Brian Holland means a lot to me.

just to add 1 more thing to this musical analysis.

none of them [[outside of someone like Paul Riser) had any professional musical training. they'd not taking 4 semesters of music theory, chromatic harmony analysis, principles of form, aural skills [[although i'm guessing there was some on the job training in ORAL skills LOL). they were going off their gut and talent

[jobucats]

just to add 1 more thing to this musical analysis.

none of them [[outside of someone like Paul Riser) had any professional musical training. they'd not taking 4 semesters of music theory, chromatic harmony analysis, principles of form, aural skills [[although i'm guessing there was some on the job training in ORAL skills LOL). they were going off their gut and talent

You're so right as to the vast majority of those Motown producers and writers did not experience a structured music theory background; however, through their innate abilities and keen ears, they were able to produce such outstanding products worthy of analysis and most of the time, theoretically sound. I was a music major who was pretty much blessed with a 'good ear' to be able, in a crude way, figure out and understand what many of my fellow classmates often struggled with. And Paul Riser was indeed the man...you could tell he knew his stuff.