Revisiting Roxette’s iconic hit “It Must Have Been Love” after the passing of the unforgettable Marie Fredriksson brings a renewed appreciation for the song’s enduring quality. Fredriksson’s vocal performance remains captivating, particularly her powerful delivery of the high F notes in the final choruses, showcasing an impressive and unrestrained vocal prowess.
Beyond the lead vocals, the song’s arrangement reveals layers of sophistication. The backing vocals are a standout element, employing a clever call-and-response technique that fills the spaces in the lead vocal melody and adds a rhythmic punch on the downbeat of each chorus. The song also features a notable modulation to F major in the final chorus, a lift of a fourth from the initial C major. This modulation is a refreshing departure from the predictable key changes often heard in popular music, enhancing the song’s climax. Furthermore, the subtle inclusion of a minor-V chord adds a touch of harmonic richness, hinting at the subdominant shift that ultimately defines the song’s emotional peak.
However, when examining the sonic landscape of the most widely recognized 1990 mix, created for the Pretty Woman soundtrack, some intriguing choices emerge. The snare drum, in particular, stands out with its prominent 300Hz energy and artificially extended sustain. This gives it a somewhat muffled, drainpipe-like quality that paradoxically clutters the mix. It seems the rest of the mix has been EQ’d to compensate, resulting in a somewhat thin and gutless overall sound in comparison to the snare’s dominance. This creates a sonic imbalance, simultaneously feeling both muddy and lacking in the lower mid-range frequencies. A similar effect is noticeable in the vocal tone. While generally sounding muted, the sharp sibilance present, especially during the first chorus, suggests an inherent brightness that is being artificially suppressed. In this regard, many audiophiles and long-time fans find the original 1987 mix of “Song It Must Have Been Love” to be sonically more balanced and pleasing.
The low-end frequencies in the 1990 mix also present a slightly underwhelming experience. The kick drum, characterized by its treble-heavy attack, contributes to a sense of size without delivering genuine impact. While there is ample low-frequency information in the 60-120Hz range, it comes across as diffuse rather than punchy. The absence of substantial content below 60Hz further weakens the beat, especially when contrasted with the overbearing snare. While the bassline does contribute in the 40-60Hz region, its slower attack relative to the upper harmonics prevents the low end from truly locking in with the rhythm, leaving a slightly lagging sensation.
Published on 01 Feb 2020
