Okay, as the title would imply, we’re getting into some music theory geekery here.
If that’s not your jam, I promise you that this all gets back to a love of music, something with which I hope we can all relate.
In a standard piece of sheet music, when you see a chord symbol with a “7” after it, such as C7, it is telling
you to play a C major/minor 7th chord, also known as a dominant 7th chord.
Chords are based on scales. The C major scale, for instance, looks like this:
A chord labled “C” is built from three notes of the C major scale: the first note (C), the third note (E) and the fifth note (G).
If you add B, the seventh note of the scale, you now have a C major 7th chord.
If you put a flat on that B, bringing it down a half step, you now have a C7 chord.
If you have ever played “Chopsticks” on the piano using only white keys, you began it with the top and bottom notes of a G7 chord, inverted.
Major/minor 7th chords are used often in the blues. With rock and roll being based in the blues, it also has employed them frequently, most notably from the formative years into the early 70s, as did R&B, and soul.
In particular, when a major/minor 7th is used as the root, or main chord, it really pops from the get-go.
There’s just something primal about it that holds a certain kind of power, hitting me in that musical sweet spot.
Shall we take a look at some examples? Yes, we shall.
“She’s About a Mover”
Sir Douglas Quintet
(1965)
A straightforward, up-tempo blues banger that got up to #13 for this San Antonio outfit, their biggest hit. The guitar establishes the E7 chord as the root chord of the song on the backbeat for the entire intro. The verse follows a 12-bar blues pattern (E7, A7, E7, B7, E7).
The refrain is all E7, baby. I’m pretty sure there’s nothing but major/minor 7th chords throughout the entire song, so it’s a good chance to hear them while you’re jumping around and throwing fists in the air. Well, at least that’s what I want to do.
“Born on the Bayou”
Creedence Clearwater Revival
(1969)
The E7 chord dominates this scorcher, and it’s apparent immediately. The lead and rhythm guitars play it throughout the introduction, and it stakes its claim on the verses and chorus as well. The song was released as the B-side of “Proud Mary” “but has endured over the years on classic rock radio. In my world it’s an A all the way.
“Mama Told Me (Not to Come)”
Three Dog Night
(1970)
There are a number of versions of this Randy Newman-penned quirky classic, but this one topped the charts. The intro and the spoken-word verses consist of one chord- Ab7. The best way to hear it is to listen to the pattern played by that wobbly keyboard. It’s outlining it, similar to what the main guitar line is doing on “Born on the Bayou.” It perfectly accentuates the whacked-out situation being described in the lyrics.
“Shotgun”
Jr. Walker & The All Stars
(1965)
Went to #4. The Ab7 chord is literally the entire song. You can hear the rhythm guitar playing it throughout, from start to finish. If you’ve got the perfect house, no need to build an addition.
“Wooly Bully”
Sam the Sham and the Pharaohs
(1965)
Another song that uses a basic blues progression. After the iconic Spanish/English count off, the guitar slams down ten G7s in root position, so right away, you can really hear the chord in all of its glory. This went to #2, was named the Billboard song of the year, and was the first American single to sell a million copies during the British Invasion. In the process, it reminded everyone that at its heart, rock and roll was simple, fun, and sometimes non-sensical.
“Doctor Robert”
The Beatles
(1966)
The chord pattern on the first 12 bars of the song, played by the guitar, alternates between an A7 and an Asus4 chord. This album cut is a fine demonstration of skillful songwriting, featuring interesting chord usage, a catchy groove and melody, and a contrasting bridge (the “well well well” part). If you know the Beatles mainly by their hits, that’s still a large chunk of knowledge, but dig even deeper. You’ll find gems like this.
“Dr. Feelgood (Love Is a Serious Business)”
Aretha Franklin
(1967)
A doctor with a different prescription here. Aretha’s definitive, impassioned vocal that leaves nothing on the table is backed by the down and dirty blues/gospel piano part. There are a number of tasty chords at work here, but it all starts with a G7 setting a tone that never lets up. Mmmm, take us home, Aretha.
“New Mother Nature”
The Guess Who (1970)
This song was part of a medley with “No Sugar Tonight.” The intro and the verses are built entirely on a Gb7 chord, which can best be heard in the electric keyboard line. There is a recording of “New Mother Nature” off of Live at the Paramount, where it’s reworked with a bluesy barroom swing feel, making that flat 7 all the more essential. I just love this version.
“Don’t Mess with Bill”
The Marvelettes (1966)
Peaked at #7. Right out of the gate, the bluesy D7-G7 progression provides the edge that is needed to convey the essence of the song. Underneath the Motown elegance lies a woman who means business. You’d best not be thinking about making a play for her man. It won’t end well.
“What’s The Buzz”
Jesus Christ Superstar- Original Concept Album (1970)
This stone cold jam is rooted in the A7 chord, which is best heard in the chorus of singers. There are two chords in the entire song- A7 and D7. This was always one of my favorites on the soundtrack as a kid. It still hits hard, and those two 7 chords are doing a good amount of the heavy lifting. That smoking hot bass line weaving in and out doesn’t hurt either. (I couldn’t go a whole article without mentioning bass guitar.)
Here is a playlist of the above songs, along with some bonus tracks. Enjoy!
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Well done! Dominant 7s are bread and butter for Blues, R&B, and Rock, and your examples are great, but it’s interesting that they’re from the mid-20th Century. I’m trying to come up with a recent Top 40 song based on 7th chords and I’m coming up blank. There might be a 7th used in passing, but a whole song? Can anyone think of one in the past 20 years?
I kept my focus on mid 60s to early 70s, but I did give some thought to more recent songs and came up empty. I believe popular music has moved further and further away from its roots in the blues and work songs and such as time has marched on. That said, there has to be something. I just haven’t hit on it yet.
That’s my feeling, too. It’s funny though, when kids get introduced to those earlier genres, they tend to love them. You’d think young songwriters would incorporate 7ths rather than sticking with simple majors and minors.
But what do I know? I’m an old dog.
I think most things operate by an “adapt or die” principal, so music was destined to change, but at some point, there may be a return to the basic roots. This happened in radical fashion with punk in the 70s, as rock had gotten more and more sophisticated and artsy. It didn’t involve a lot of 7 chords, but maybe the next wave will. One never knows.
How about this hit from the late 90s?
Seems like Eb-Ebmaj7-Eb7-Ebmaj7 in the verses.
https://www.youtube.com/watch?v=Jnq9wPDoDKg
Yes! And it has a nice ii-V-I in the chorus. Good memory, ISP.
The Eb7 chord plays an important part in the changes for sure.
Here’s one from the last 20 years! 2008. Pretty sure the big chord at the end of the chorus is an F7 (not an F minor).
https://www.youtube.com/watch?v=lrXIQQ8PeRs
Obviously not the whole song, but the single strum at the end of the chorus makes an impact.
I can hear the 7 chord in the chorus, but I’m not happy about listening to Nickelback, let the record show.
I figured, I just wanted to try to take on Vdog’s “challenge” about pop songs from the last 20 years.
My thought was, “Pretty sure there was a big Nickelback hit with this off-kilter chord” and it was this one.
I doubt I’ll ever understand the alchemy behind music theory, but I like the tunes you provided!
I know I always tout “Surfin’ Bird” as the best song ever recorded, but “Wooly Bully” is really up there too. The best sham one can invest in.
Thanks for the lesson!
Yes, Surfin’ Bird is another good example of the sloppy fun and joy behind rock and roll in its roots. One of the wonderful things about the U.S. response to the British Invasion is that kids formed garage bands with their friends, many of them with no musical experience prior, and they embodied the original spirit of rock and roll, perhaps inadvertently.