Far removed in time from his early hits, 1997’s Hourglass was a James Taylor album home to wonderfully woven stories, increasingly complex harmonies, and multi-layered textures. The artist described the collection as “spirituals for agnostics.”
“Enough to Be On Your Way,” reported to have been written in the wake of the death of Taylor’s brother Alex, is quietly stunning even before the modulation — but JT adds a key change to the mix at 4:35. The track features cello by Yo-Yo Ma.
What better way to start off the week than with some Babs? This 2016 release features a stunning vocal throughout, and such a great song. Modulation at 3:25. Enjoy!
In honor of his 70th birthday today, here’s “Parallel Lines,” a 1989 release from Todd Rundgren‘s album Nearly Human. The huge band was a complete departure from Rundgren’s history of standard 4-piece rock ensembles. Bridge at 2:21, modulation at 3:10.
Brazilian chanteuse Vanessa da Mata, the winner of several Latin GRAMMYs, produced the track “Longe Demais” (too far away) in 2002. This laid-back tune features direct modulations at 1:01, 1:43, and 2:43.
The 1970s post-punk UK songwriting scene brought to light many dynamic songwriters and performers — including Elvis Costello and Dave Edmunds. The original version of “Girls Talk,” written in 1979 by Costello, clocked in at only two minutes in length, as bare-bones as could be. Edmunds’ cover version, released the same year, added plenty of new features, including a fuller sound and three modulations: the first at the end of the intro (0:11); the second for the duration of an instrumental verse (2:07); and third, returning to the main key at the end of that verse (2:22).
Stacked with compound chords from its very first measure, “Street Life” (vocalist Randy Crawford, along with The Crusaders, featuring Joe Sample) was one of the most harmonically rich hits of the Disco area (1979). Modulating up a half-step at 1:33, the compound chords hit again around the 2:00 mark, dropping us back into the original key — and then up again at 3:32. The track made a strong appearance on the US pop, soul, and disco charts and hit #5 on the UK pop charts.
“Hush, Hush, Hush,” a supporting track on Paula Cole‘s breakout 1996 album This Fire (the single was something about cowboys), guest features the singer/songwriter’s mentor, Peter Gabriel as well as some gorgeous and unusual instrumental features. Starting in a minor key, a transition to a major-key bridge starts at 2:01; at 2:33, we return to the original key. An unexpected 4-chord repeating harmonic progression loops from 2:50 to the end.
Bringing you some early Liza Minnelli today, with a 1966 concert performance of “Maybe This Time” from the 1972 film Cabaret. Minelli had previously released the tune on two albums, but its feature position in the film is what gave it staying power with the public. The key change is at 1:50.
Nik Kershaw‘s classic 1986 New Wave release, Radio Musicola, was full of the UK singer’s moody, richly textured sound; the title track was no exception.
A textbook half-step ascending direct modulation at 2:03; a bridge (2:21 – 2:40) ending with a downward half-step modulation to the original key; and another modulation back to the second key at 3:06.
Audra McDonald singing “When Did I Fall In Love” from the Bock and Harnick musical Fiorello (1959). Key change before the final chorus at 2:43. Enjoy!
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