Released without a stand-alone video in September 1983, Holiday became Madonna's first hit (and first signature song) early in 1984. And whereas Madonna has recently signaled her skepticism about or even disdain for some of her other early hits and signature songs, e.g., Into The Groove, she's evidently still very fond of Holiday, citing it as her favorite among her own (not necessarily self-written) songs in an interview in 2005. In this note I take a close look at this terrific record, focusing on Holiday's music and lyrics. In the sequel I discuss how Madonna made Holiday a pop landmark by getting out there and selling it and herself to the world.
Music
Holiday is musically very simple:
- Just four chords (in D-maj) arranged in exactly one 4-bar pattern: IV,V|V,vi|IV,V|iii,IV
- Each bar in the pattern has the same timing: 3/8 for the first chord, 5/8 for the second chord, i.e., the second chord in each bar is always a quaver ahead of the beat.
In part because of its extreme musical simplicity/directness, Holiday isn't musically especially original or forward-looking. Indeed, Holiday is more or less exactly like the direct musical offspring of Chic's Good Times (from 1979) and ABC's Look of Love (from mid-1982). Let's focus on Holiday's LOL-lineage:
- LOL bounces around the same four chords as Holiday – IV,V,vi,iii (only in C-maj)
- LOL's main verse pattern is the same as the final two bars of Holiday's sole pattern, i.e., IV,V|iii,IV with a 3/8, 5/8 timing within each bar, and essentially the same timbre (muted-chiming, synth chords) picks out the basic changes in both H and LOL
- LOL's and H's tempi, synth bass-lines, and string section embellishments are very similar, although in each dimension Holiday is simpler, more metronomic, and more synthetic/electronic than LOL.[1]
- Madonna's beat is a gloriously stiff Oberheim drum-machine, whereas ABC's rhythm track employs God's own army of electronic wizardry and low-flying orchestral percussionists, courtesy of Trevor Horn and Ann Dudley
- Holiday is fleshed out by a buffet of interlocking, Chic-/Nile Rodgers-style, disco guitar figures
- Holiday musically climaxes with a delightful piano part due to Fred Zaar. After plinking away in the background for 16 bars or so, Zaar finally breaks out into a solo, bringing the track joyously home.[2] That piano overall is similar to piano in Nick Lowe's I love the Sound of Breaking Glass (from 1978), and Steve Nieve's piano parts in Everyday I Write the Book, a near-contemporary (July 1983) single from Elvis Costello and the Attractions. More generally, Zaar's solo is in the lightly vaudeville piano tradition that occasionally surfaces in the Beatles, as well as in things like Thunderclap Newman's Something in the Air, and then persistently in the mutant pub-rock piano of Nieve, Jools Holland (Squeeze), in Eddie Rayner's playing for Split Enz, and even in Benny Anderson (Abba) at least some of the time. This style of piano is very different from Ann Dudley's brilliant, cod-classical for ABC (and Benny Anderson much of the time), let alone from the (Korg M-1) 'House' piano that dominated dance music for years after about 1988 (and has arguably never really gone away).
Lyrics
As we've already seen, Holiday has little musical structure to speak of. Thus, almost all of the variation in the song, e.g., all verse/chorus/middle eight structure, etc., has to be created solely by the vocal line and the lyrics. Holiday doesn't disappoint in this regard, and its basic structure so conceived is as follows: Intro/Chorus/Verse1/Double Chorus (with responses)/Verse2/Chorus (with responses)/Middle 8 (just 4 bars really)/Intro/Chorus (with responses)/Intro (with responses)/Intro (with principal novel variant responses)/Intro+piano solo/Intro to fade (with various responses).
The key to Holiday from this structural-lyrical perspective is its call and response structure, which develops throughout the song. We originally perceive the Intro:
Holidayjust as itself. But by the end of the song it's become a 'call' handled by backing vox, and we hear both Madonna and the piano respond to it. Similarly, in the case of the Chorus, we initially hear mostly just its 'call' part:
Celebrate
Holiday
Celebrate
If we took a holiday
Took some time to celebrate
Just one day out of life
It would be,
it would be so nice
From the top, then, and, to be clear, writing all the calls to the left and all responses to the right, we get -
Intro
Chorus:
If we took a holidayVerse 1:
Took some time to celebrate
Just one day out of life
It would be,
it would be so nice
Everybody spread the wordDouble Chorus (with responses):
We're gonna have a celebration
All across the world
In every nation
It's time for the good times
Forget about the bad times, oh yeah
One day to come together
To release the pressure
We need a holiday
If we took a holidayVerse 2:
Oh...Ooo hoo hoo hooTook some time to celebrate
Come on let's celebrateJust one day out of life
Holiday!It would be,
it would be so niceIf we took a holiday
Oo yeah oh yeahTook some time to celebrate
Come on let's celebrateJust one day out of life
Just one day out of life!It would be,
it would be so nice
You can turn this world aroundChorus (with mixed responses):
And bring back all of those happy days
Put your troubles down
It's time to celebrate
Let love shine
And we will find
A way to come together
And make things better
We need a holiday
If we took a holiday
Holiday!Took some time to celebrate
Come on let's celebrateJust one day out of life
Just one day out of life!It would be,
it would be so nice
Middle eight:
Ooh yeah oh yeah
Come on let's celebrate
We have got to get together
Chorus (with mixed responses):
If we took a holidayIntro (with mixed responses):
Ooh yeah oh yeahTook some time to celebrate
Come on let's celebrateJust one day out of life
Holiday!It would be,
it would be so nice
HolidayIntro (with principal novel variant responses):
Oh yeah oh yeahCelebrate
Come on let's celebrateHoliday
Just one day out of life!Celebrate
It would be so nice
HolidayIntro+piano solo
Holiday, CelebrationCelebrate
Come together in every nationHoliday
Holiday, CelebrationCelebrate
Come together in every nation
Intro (with mixed responses) + piano continuing to go nuts:
Holiday
We've got to get togetherCelebrate
Take some time to celebrateHoliday
Just one day out of lifeCelebrate
It would be so nice
Is there anything to these lyrics behind all of this busy, ingenious structure of Intro and Chorus call patterns, zipped and unzipped with varying responses? Probably not. In effect Holiday revolves tightly around the twin concepts Holiday and Celebrate/celebration for its whole length (perhaps drawing on the 'Holiday, Holiday, Holiday, Celebrate!' chorus of Change's A Lover's Holiday (1980)). But spinning though that so gracefully and unmechanically that a song with an unrelenting groove and a single chord progression nonetheless ends up powerfully expressing freedom and release is a significant achievement in my view. It may look easy to write and perform a lyric that invites and urges everyone 'all around the world' to get up and dance and 'get together' - to speak in a plausible 'we' without seeming obnoxious or ridiculous - but evidently it isn't. (I hail and discuss the significance of Holiday's egoless-ness in the sequel.)
The super-positivity that Holiday hymns became a key theme within dance music over the next 20 years (sometimes forming the attitudinal raison d'etre for whole sub-genres, e.g., Hi-NRG, Happy Hardcore, Italo, etc.), but rarely, if ever, was that theme as well articulated and demonstrated as Madonna and her producer managed in Holiday.
[1] And whereas Holiday had a train journey on its single sleeve, LOL has lately (and deliciously) soundtracked Virgin Rail ads.
[2] According to wiki, Zaar was a friend of Madonna's and her producer 'Jellybean' Benitez's, and his part was a last-minute, at-home/extra-studio addition to the track.
[3] 'Jellybean''s straight remix of Holiday for Madonna's 1987 You Can Dance collection of dance versions is OK in my view, but the 'drier'/less processed sound of the original mix is still better. 'Jellybean''s 'Dub version' remix of Holiday for the same collection is more interesting: it's just a classic, largely instrumental, 'separate all the parts', 12" mix. If you're a fan, everything from the piano to the layers of Nile Rodgers-ish guitars to the backing vox to the drum-machine cow-bell on Holiday is worth hearing in (near) isolation. For me, then, Holiday (Dub version) 6:56 uniquely, nicely complements Holiday's original mix.
[2] According to wiki, Zaar was a friend of Madonna's and her producer 'Jellybean' Benitez's, and his part was a last-minute, at-home/extra-studio addition to the track.
[3] 'Jellybean''s straight remix of Holiday for Madonna's 1987 You Can Dance collection of dance versions is OK in my view, but the 'drier'/less processed sound of the original mix is still better. 'Jellybean''s 'Dub version' remix of Holiday for the same collection is more interesting: it's just a classic, largely instrumental, 'separate all the parts', 12" mix. If you're a fan, everything from the piano to the layers of Nile Rodgers-ish guitars to the backing vox to the drum-machine cow-bell on Holiday is worth hearing in (near) isolation. For me, then, Holiday (Dub version) 6:56 uniquely, nicely complements Holiday's original mix.
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