Author: Mod of the Day

Aretha Franklin | Til You Come Back to Me

Co-written and recorded by Stevie Wonder but never released until a subsequent retrospective album, “Til You Come Back to Me” (1973) was a huge hit for Aretha Franklin, reaching #1 on the R&B chart and #3 on the Hot 100 chart in 1974. The tune was later covered by over a dozen other prominent artists, ranging from Johnny Mathis to Cyndi Lauper. The short bridge (1:30 – 1:51) departs from the primary key of D Major.

Kenny Loggins + Stevie Nicks | Whenever I Call You Friend

“Whenever I Call You Friend” by Kenny Loggins and Stevie Nicks (1978) was released among a slew of late-disco tunes. The track stood out for its kinetic pop sound despite its string-heavy arrangement. There are plenty of modulations, particularly from the instrumental bridge (2:30) onward. The tune, written by Loggins and Melissa Manchester, went top ten in the US and Canada.

Eric Clapton | It’s In the Way That You Use It

From MotD fan JB comes this contribution: 1986 saw the release of August, Eric Clapton‘s best-selling album. One of the album’s singles was “It’s In the Way That You Use It,” a tune co-written by The Band’s guitarist Robbie Robertson and featured in the hit film The Color of Money. A whole-step direct modulation hits at 2:35.

Diana Ross | It’s My Turn

“It’s My Turn” (1980), the theme song for the film of the same name, was written by Carole Bayer Sager (lyrics) and Michael Masser (music). The late 70s and early 80s saw Diana Ross‘ continued professional ascent, despite the 1977 breakup of The Supremes, the group which brought her to prominence. A major single for Ross, the tune peaked at #9 on the Billboard Hot 100 chart, #14 on the Soul chart, and #9 on the Adult Contemporary chart. There are multiple modulations, with the first at 0:26.

To quote a friend who is definitely a Diana fan: “When has it EVER not been her turn?” 🙂

The Who | My Generation

#11 on Rolling Stone magazine’s “500 Greatest Songs of All Time” list is “My Generation” by The Who. A short section of AllMusic‘s review of the 1965 release: “An explosive debut, and the hardest mod pop recorded by anyone. Pete Townshend‘s exhilarating chord crunches and guitar distortions threaten to leap off the grooves…” This classic features modulations at 1:19, 1:49 and 2:26.