After gaining fame as part of Destiny’s Child, vocalist Kelly Rowland released “Stole” in 2002. The lyrics detail the anguish of multiple young lives lost to violence. The tune was a smash hit in the UK and Australia, but didn’t perform nearly as well in the US.
The form alternates between an intro and verse built around a Cmajor/Asus2 vamp and a chorus with a repeating Gmin/Dmin/Cmin pattern (first appearing at 0:45).
A decade after he co-founded Steely Dan, vocalist / keyboardist / composer Donald Fagen released 1982’s The Nightfly, an album which featured a distinctively Cold War/1950s vibe and was reportedly inspired by Fagen’s childhood habit of late night jazz radio listening. Not surprisingly given Fagen’s trademark harmonic complexity, “Ruby Baby” modulates at 2:57, but the close harmonies of the backing vocals are so complexly layered that the key change seems almost routine in comparison.
The Legendary Eddie Holman‘s “Hey There Lonely Girl,” released in 1969, peaked at #2 in the US, #1 in Canada, and #4 in the UK when it was released there a few years later. The tune was later covered by many artists, including Donny Osmond and New Edition. Modulation at 2:14.
Australia’s Little River Band released “Reminiscing” in 1978. Reaching #3 in the US and rumored to be one of John Lennon‘s favorite tunes of that era, the song looks back at the music of the 1930s and 1940s by decorating its 1970s sound with musical touches from those bygone decades.
Receiving an oddly low score of only 51.75 out of 100 from the Yacht or Nyacht yacht rock website, the tune modulates at 2:03, then returns to the original key at 2:19.
At the peak of their history-making string of hits during the 80s, Hall & Oates released “One on One” in 1983. The spare texture allows the individual players within H&O’s longtime lineup to shine — particularly the inventive bassline from the late T-Bone Wolk and the infectious solo from sax player Charles DeChant.
The intro (0:00 – 0:20) features a C/G to G7 vamp; the verse (0:20) is built around a repeating progression of Ebmaj7 / DMin7 / GMajor; the chorus pivots to a CMajor, G/C, F/C progression at 1:01. Written by lead vocalist Daryl Hall, the tune manages to tip its hat to the 1960s/1970s Philly Soul the band grew up with while remaining squarely within the synth-driven textures of the early 1980s.
“The Way You Look Tonight,” co-written by Jerome Kern and winner of the Oscar Awards for Best Original Song in 1936 for its appearance in the movie “Swing Time,” was first performed by that film’s star, renowned dancer Fred Astaire. Multiple singers have covered this standard in the years since, from Ella to Billie to Sinatra to Tony Bennett, who is featured here. Modulation at the beginning of the middle section at 1:36, then back to the original key at 2:17.
After his work as vocalist, keyboardist, and co-writer for the pop/rock band Bourgeois Tagg, songwriter Brent Bourgeois transitioned to the Contemporary Christian Music genre in the late 90s; he’s continued to write, release, and produce his own solo work since then. His duet with songwriter and vocalist Ginny Owens, “One Thing,” released in 2000, modulates at 1:20.
One of Mariah Carey’s early hits from her debut album, 1991’s “I Dont Wanna Cry” (co-written by Carey and Narada Michael Walden) made it to #1 on the US Billboard Hot 100 charts. Carey’s first four singles performed identically, making her the first female artist and first solo artist to have all four first four singles reach #1 (The Jackson 5 did it first, as a group). After a big bridge, the modulation is at 3:25, made all the more powerful by compound chords at the transition.
Faith Hill’s 1998 crossover country/pop hit “This Kiss” went to top-10 status in the US, Canada, and Australia and was later nominated for two Grammy awards. Modulation at 1:45, after quite the killer bridge with its own key change (1:33).
First released by Todd Rundgren during his stint with the band Nazz 50 years ago (October 1968), Rundgren’s subsequent solo version (1972) reached #5 on the US pop charts. The tune features a horn section including Randy Brecker and Michael Brecker, among other top-drawer players. Something/Anything, the album which featured the single, was later voted #173 on Rolling Stone‘s “500 Best Albums of All Time.”
The half-step modulation at 2:45.
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