What’s The Best World Cup England Football Song?

OK, I enjoy the world cup, and understand the off-side rule, but generally prefer playing football to watching it. But when my friend from Great British Chefs posted a query: What’s The Best World Cup England Football Song? World in Motion or Three Lions? – for many days now I’ve been thinking about it. So much so that my response simply does not fit into a social media reply… Mecca, here’s your answer.

“World in Motion” works brilliantly as a standalone pop song, but is it ‘catchy’?  

Harmonically, “World In Motion” is musically complex (apart from the ‘rap’) and there’s a lot going on in terms of chords, percussion and orchestration. It’s interesting, but also demands effort from the listener, meaning cognitively you have to think about where the song is going and pay attention to it. 

Melodically, “World In Motion” is quite gentle – there’s no descending melodies or musical ‘jumps’; it’s tuneful but stays in one place. Yes, the rap segment was distinctive and served to make the song very memorable – but not for musical reasons.  

“World In Motion” is also a little slow for singing along – most people sing football songs while excited, so their heart rate will be higher – faster tempo songs will come to mind more easily in a heightened state like this!

Apart from tempo, both songs have a lot in common – two choruses: ‘Love’s got the World in Motion / Let’s hear it for England’ and ‘Three Lions on a shirt / It’s Coming Home’,  both largely in major (happy) keys, and both are quite sparsely orchestrated. Both songs also do not require particularly good vocal skills.

And so, to catchiness –  have you heard anyone singing “World In Motion” in the street? Personally I haven’t, but “It’s Coming Home” is everywhere.

So what’s happening here? How are they different?

I think the answer lies in melody. Despite great orchestration and production of New Order’s “World in Motion”, the “Three Lions” musical phrases are much more likely to be sung in the wild. They are easier to remember, easier to sing along to and more physically pleasant to sing out loud.

I’ll tell you how this works: The descending tune of the “Three Lions on a shirt” call is followed by an upward response “Jules Rimet still gleaming”.  Wow, super catchy and melodically pleasant –  it’s a classic gospel song call and response: You know where it’s going, there’s a clear musical path that you only need to hear once to sing along, and you’re excited to hear it resolve. A great pop example of this is ‘Twist and Shout’

The second is the clincher “It’s coming home, it’s coming home, it’s coming…” – what an anthem! There’s a built-in melodic jump – you can hear these in a lot of Abba songs (Winner Takes it All, Take a Chance on Me) and many existing football chants. There’s also repetition – this simple phrase is a natural ear-worm, there’s no effort involved in remembering this even after hearing it once.  Listening to this phrase takes low cognitive effort in contrast to “World In Motion”, plus there’s yet another embedded ‘call and response’ too. 

Finally ‘It’s Coming Home’  is a semi-unresolved melody. Getting to the end of the phrase, you want to sing it again. You can see this unresolved effect at work in notable examples like ‘Song 2’ by Blur, ‘My Shorrona’ and ‘Living on a Prayer’. Catchy? Absolutely. And now you know why my considered answer is “Three Lions”, musically the most suited football song for England’s World Cup 2018 journey.

Eurovision 2010: Musical Analysis

Eurovision Hits and Misses

This year, I analysed the Eurovision 2010 song contest musically for The 63336… it was great fun (apart from having to listen to all the singing) and the bum notes survey picked up a few lines of coverage in the press. Below is a breakdown of how the analysis was done, along with a few extra facts about this year’s contest.

We worked from a google document, and I set up the spreadsheet as follows:

Insanely Complex Cloud Spreadsheeting

We actually filled it in in entry order , though the snapshot shows the worst pitched performers and points in descending order -after the event.

I counted the bum notes while someone else timed the performance in seconds, that’s how we arrived at the “bum notes per minute” stat. I based my assessment of what counted as a “bum note” on whether the singer was in tune with the backing tracks.  Ad-lib note sliding (a la Mariah Carey) was not counted as out of tune unless it was truly out of tune.

The most entertaining thing to do was the “additional observations” tab, where I entered song similarities in. I’m not surprised about how many songs sound like other songs – in real life if I hear something, I can generally think of a tune or two that fits quite snugly. I was surprised that in Eurovision this year, Queen, Sting and Roxette were all quoted from rather heavily.

Listen Here to samples of the Eurovision finalists for 2010, and you’ll find that

Cyprus = Torn by Natalie Imbruglia

Russia = Verse: Slightly Mad by Queen, Chorus: the Piano song from Big

Denmark = Verse: Every breath you take by The Police, Chorus: Simply the Best by Tina Turner

Serbia = Chorus: Whenever, Wherever by Shakira

Albania= Verse: Womanizer by Britney Spears

Greece = Sexy Back by Justin Timberlake

Belgium= Baby I love your Way by Peter Frampton,  Walking in Memphis by Marc Cohn, Knocking on Heaven’s Door by Bob Dylan

Azerbaijan, Moldova, France = Listen to your Heart by Roxette

Georgia = Every Little Thing She Does by The Police

Israel = The Show Must Go On by Queen

Iceland = Bridge: The Show Must Go On by Queen

Romania = Middle 8: Goodbye Yellow Brick Road by Elton John

UK = Verse: Kids In America by Kim Wilde, Chorus: last line “sounds good to me”  = same chords and melody as kids show theme tune “Postman Pat”  ( lyric “that sounds good to me” = “(pat feels) he’s a really happy man”  – 37 seconds in http://www.youtube.com/watch?v=H9KnR_9wpl4 )

Critical Analysis of musical commonalities

OVERALL COMPETITION STATS

14 out of 25 songs were in Minor Keys

Key Distribution:

The most popular key was C with 4 songs out of 25. That’s the scale made from all the white notes on the piano – thought of as the easiest key to play in if you’re a piano player. The least popular keys were C# and Bb – with no songs in those keys.

Key Distribution for Eurovision 2010

Most C=4, D=3, Eb=3,  G=3, Ab=3,E=2, F=2, F#=2,B= 2 A=1, C#= 0 Bb=0 Least

Key Change count for Eurovision 2010:

Only 9 countries went for the traditional dramatic key changes.

Spain and Portugal had 2 key changes, contributing to a total of 11 shocking key changes for the evening – 13 including Spain’s Retake.

Scoring Commonalities

Top 3 songs were in Minor Keys
Bottom 3 songs were in Major Keys

Top 3 songs were all contemporary
Bottom 3 songs were conventional

Top 3 songs had simple chord structures
-Top German Entry had only 4 chord sequences in the chorus
-Bottom UK Entry had an 11 chord sequence in the chorus

Would anyone have won if they chose a folky contemporary pop song with simple chords in a minor key?

Not necessarily, although Norway’s 2009 entry last year had all these attributes, and they hit the top spot in 2009.

This year the winning songs were already popular and well known across the voting audience – so repetition and heavy airplay can also give a song the Eurovision Edge.

Roll on next year!