UK pop group Johnny Hates Jazz scored a worldwide hit in 1987 and 1988, when “Shattered Dreams” was released in the UK and then in the US. A review on AllMusic calls the tune “…the peak of sophisti-pop before Alternative began to take over the charts. The arrangement is like the audio equivalent of watching a mechanical watch movement.”
The tune modulates up a half-step at 2:00 as the bridge begins.
Here is Edvard Grieg’s “Peer Gynt Suite #1: Anitra’s Dream“ (1876), accompanying the world-class hunting techniques of the Short-Eared Owl. The main theme, starting in minor as the piece begins, is re-stated briefly in a major key at 1:16, reverting back to minor at 1:25.
Released in 1982, J. Geils Band‘s live version of “I Do” took the sound of 1950s a cappella do-wop, added standard rock instrumentation plus horns and harmonica, and turned it into a #24 pop hit. The track was one of the final releases for the Massachusetts-based band, active between 1970 and 1985. The unmissable modulation, introduced by a huge solo drum fill, is at 1:14.
James Ingram, a 1980s/1990s pop/R&B artist, songwriter, and 14-time Grammy nominee, spent his early years singing back-up vocals for the likes of Marvin Gaye and Ray Charles. A demo of this 1981 track, “Just Once,” came to the attention of producer Quincy Jones, prompting a record deal. Ingram continued to work with Quincy, co-writing the uptempo pop confection “PYT” for Michael Jackson’s legendary Thriller album.
The bridge brings key changes at 2:51 and 3:05; one more modulation hits as the bridge transitions to the final chorus at 3:24 before one last shift as the outro fades at 4:21.
Chalk up another mod for MotD regular Rob Penttinen: Although it was first written and recorded in the 1950s, the signature version of the Country classic “Mama, Don’t Let Your Babies Grow Up to Be Cowboys” was performed by Willie Nelson and Waylon Jennings for their 1978 album “Waylon and Willie.” The tune reached #1 on the US Country charts and crossed over to the US Pop chart as well, peaking at #42. This live version, recorded at Nelson’s own charity event Farm Aid in 1986, modulates up a whole step at 1:10.
American Bluegrass/Newgrass mandolinist Chris Thile, known for his work with Nickel Creek and Punch Brothers, released his fourth solo album, Deceiver, in 2004. After a chaotic bridge from 2:50 to 3:10, “I’m Nowhere and You’re Everything” modulates at 3:10, 3:42, and 4:06.
From The Houston Chronicle‘s review: “If you expected Thile to cater to Bluegrass orthodoxy and Newgrass’ oft-meandering constructs, this album’s title suggests you’ve been duped.”
1982 saw the release of the album Special Beat Service by The English Beat (known back then in their native UK as The Beat). The band was one of the most dynamic Ska Music groups of the late 70s and early 80s. “Sugar and Stress,” a track from the album, is an up-tempo dance rave-up that modulates up a whole step at 1:57.
The Manhattans’ 1980 release “Shining Star” won a Grammy for best R&B vocal performance for duo/group. The tune reached top 10 across a range of US charts: Adult Contemporary, R&B, and Hot 100 (Pop). After a false modulation (a quick key-of-the-moment-shift, followed by a return to the original key) at 1:34, the tune finally modulates for real at 2:46.
The all-too-often overlooked jazz standard “Emily” (Johnny Mandel and Johnny Mercer) has been covered by many greats, from Sinatra to Tony Bennett — and here by trumpeter Arturo Sandoval. The tune was the title song for the 1964 movie The Americanization of Emily. This arrangement features a lovely intro through 0:19; the form begins in earnest in C major before briefly touching on a key-of-the-moment (A major) for a few bars (0:39 – 0:48), then reverting to C.
This epic modulation stared me in the face for decades before being noticed. Queen’s “We Are the Champions” (1977) features verses which start in C minor, shifts into Eb major for the pre-chorus (first at 0:23), then transitions to F major for the choruses (first at 0:39). Commenting on the tune (among Queen‘s most successful singles of all time), the band’s guitarist Brian May said “We wanted to get the crowds waving and singing. It’s very unifying and positive.”
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