Category: Elise

Lisa Loeb | Bring Me Up

The first musical artist to have a #1 hit (Stay / “I Missed You”) without the benefit of a contract with a record label, Lisa Loeb has gone on to release many other distinctive tunes. There’s a modulation in “Bring Me Up” (2002) during the bridge (2:10 to 2:39); then the tune reverts to its original key on its verse-based outro.

George Benson | 20/20

Shape-shifting guitarist/vocalist George Benson, a Pittsburgh native, had a string of hits in the 1970s and 1980s, pulling from his 36 albums to date. “20/20” (1984) made a splash on three charts: #45/Pop, #20/R&B, and #3/Jazz.

The tune features a bridge with plenty of compound chords (1:50 – 2:25) which remains in the original key. The third verse (2:25) hits with a direct modulation, followed by Benson’s effortless duet combination of guitar and wordless vocals.

Pat Metheny | A Map of the World

Like much of his work, guitarist / composer Pat Metheny‘s 1999 soundtrack release for the film Map of the World features quickly shifting, sometimes nearly constant key-of-the-moment passages. The track features two main sections, each played twice. Section 1 (0:00 and 2:30) pivots between G major and E minor (among others), while section 2 (1:13 and 3:41) is loosely built around A major. At 5:12, there’s a brief return to section 1’s tonality for the outro.

Robert Palmer | Know By Now

Unlike his huge 1980s hits, pop/soul artist Robert Palmer‘s 1994 release “Know By Now” was more subtle than flashy. It reached only #25 in the UK and garnered next to no airplay in the US. Sadly, in 2003, Palmer died of a heart attack at the age of only 54. The track, which Billboard magazine reviewed as “stick(ing) to the brain after one spin,” features key changes at almost every turn. The prominent placement of the word “honey” in the lyrics (1:35, etc.) seems to be a nod to the host album’s title.

Palmer told The Canadian Press in 1994: “I happen to think that it is probably the best song I’ve written for many reasons – first of all, it’s three songs in one, in that each piece of it was a separate inspiration at a different time, not merely a reason to get from A to C.”

0:00 C# Major (intro, after a brief F# Minor key of the moment)
0:38 E Minor (verse)
1:11 C# Major (pre-chorus)
1:36 F# Minor (chorus)
1:58 E Minor (verse)
2:30 C# Major (pre-chorus)
2:55 F# Minor (chorus to end)

The Foundations | Build Me Up, Buttercup

The Foundations released their hit “Build Me Up, Buttercup” in 1968; it reached #1 in the US, Canada, and Australia. It’s often played during the 7th inning stretch during Los Angeles Angels games. The key change is at the tail end of this short single (2:45), just as the tune begins its fade-out.

Wang Chung | Everybody Have Fun Tonight

Score another mod for MotD member Rob P., who suggested this tune:

The UK’s Wang Chung had a few huge new wave/pop hits in the 80s, including “Everybody Have Fun Tonight” (1986). “’When we came up with the original line, I then went away and wrote with a Hey Jude-style ballad around it, trying to be ironic,” (American Songwriter). “And then when we got in the studio with Peter Wolf, he was like, This is an amazing dance hit, you rock the tempo, you’ve got to really deliver what the title suggests.’

By leaning into the good-timey vibes of the title with a big old synths-and-horns production, Wang Chung danced all the way to #2 on the U.S. pop charts in 1986. The song almost immediately cemented itself in the world of pop culture … Everybody Have Fun Tonight’ rebuilt Wang Chung’s image in one fell swoop. It might have taken them a while to settle on that band moniker, but they wielded it like a weapon on their biggest hit.”

The verse and choruses seem pretty straightforward, but then the bridge (2:32) catches us off guard with a few distinct sections — and two modulations — before returning to the original key at 3:29.

Lenny Kravitz | It Ain’t Over ’til It’s Over

Lenny Kravitz‘s soulful pop release “It Ain’t Over ’til It’s Over” (1991) featured the Phenix Horns from Earth, Wind & Fire. According to a 2000 interview with VivaMusic.com, Kravitz said “That song just came out one day, and I knew it had a classic vibe, and still love that song very much today.” There’s a modulation during the bridge (2:02 – 2:30).