Usually, modulations tend to happen closer to a tune’s end than the beginning, but seven-time Grammy winner Natalie Cole’s “Miss You Like Crazy” (1989) breaks that trend. The track became a huge hit in the US, Canada, and Europe.
“‘So many things have happened in my life,'” Cole reflected on her father Nat King Cole’s death when she was only 15. “‘But the death of my father remains the most painful.'” (Billboard). “‘I adored him in a way that only a teenager girl can adore her dad. When he died, I fell apart. For years, I ran from his memory. I even ran from his music. When I inadvertently stumbled into a career, I was thrilled to learn that I could sing rhythm and blues. I loved singing soul. But it wasn’t until I found the courage to sing the music associated with my father that I found my deepest peace and greatest satisfaction. The fact that even in Dad’s death we have grown closer brings me a beautiful comfort. It makes me think we ascribe too much severity to death. Spirit doesn’t die. Music doesn’t die. And the love that links spirit to music knows nothing about death. That spirit, that music, that love is eternal.’”
This power ballad modulates multiple times starting nearly right out of the gate (0:42) and continues with other shifts. At 2:18, the key locks in at the bridge and remains the same for the duration.
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