Steve Goodman | You Never Even Call Me By My Name

From our follower @EJGleske, a former DJ and chronic videographer, comes a tongue-in-cheek country tune called “You Never Even Call Me By My Name” by Steve Goodman (1971). The tune attempts to cover every known country music lyric cliche — no easy task.

@EJGleske explains: “Goodman was known perhaps best for ‘City of New Orleans,’ which was known most by Arlo Guthrie‘s cover version, but that’s not his best song. ‘A Dying Cub Fan’s Last Request’ and ‘Chicken Cordon Bleus’ hit my spot, and when I want to wow folks who know not who Goodman is, I introduce them to ‘Talk Backwards.’

Steve wasn’t only about songs written from the funny bone; his ballads, from ‘City of New Orleans’ to ‘I Can’t Sleep’ to ‘If She Were You,’ tell a story in vivid detail, his voice and picking painting the most marvelous pictures.

Steve was a singer-songwriter’s singer-songwriter. His songs were covered by, well, everyone…from Baez to Denver to Guthrie to Kristofferson to Nelson and on down the line. Bumping into John Prine on the same circuit as often as he did, it was our good luck they collaborated on a number of songs. Many of them come at us with the full force of both men’s wit, which brings me to my submission. Goodman and Prine set out to write the ultimate country song, and put every hook and cliche of the genre into one thick mess. The obligatory modulation is at 1:54, and it works on all levels, musically and as satire.”

Fever | Josh Turner (feat. Allison Young)

From MotD regular Paul Steckler comes this update on a 1959 pop classic:

“Everyone knows the famous version of ‘Fever’ by Peggy Lee. She added lyrics to the original release, performed by Little Willie John in 1956. In 2019, we have a guitar-and-voice version by Josh Turner and Allison Young.”

Josh’s bio states that he “started playing at 13, when his PlayStation 2 was confiscated.”

Modulations at 1:35 and 2:11.

Franz Schubert | Moment Musical #3 in F Minor (Vladimir Horowitz, piano)

Here’s a later performance by of Franz Peter Schubert‘s “Moment Musical #3 in F Minor” by legendary pianist Vladimir Horowitz. Limelight Magazine called Horowitz “a Russian-born pianist who left for the West at age 21, where he was described as a ‘tornado unleashed from the steppes’…Most famous for his performances of Romantic piano repertoire…”

There are several passing keys of the moment in the piece, but the main transition into F major is at 1:50.

Mama’s Gun | You Are the Music

From long-time neo-soul/r&b aficionado and first-time MotD contributor Aaron L. comes this effervescent, unapologetic love song, “You Are the Music,” from London r&b/neo-soul/pop quintet Mama’s Gun.

The album which featured today’s track, Routes to Riches (2009), was reviewed by Uncut magazine as “a masterclass in blue-eyed bubblegum soul, as heart-warmingly catchy as anything from Stevie Wonder’s ’70s purple patch.” The band has opened for fellow Brits, pop/funk legends Level 42, and American neo-soul artist/producer Raphael Saadiq.

Starting in A minor for the verse, the chorus transitions to compelling A major(ish) mix, then reverting to minor for the next verse. At 2:18, a breakdown/bridge pushes us into D minor, leading to a big modulation into Bb major(ish) for the remaining choruses.

George Benson | On Broadway

Another mod from frequent contributor JB: “On Broadway” was first a hit for The Drifters in 1963. In 1978, guitarist/vocalist George Benson covered the tune, which is part of his smash hit album Weekend in LA. Benson’s version became a sustained adult contemporary and smooth jazz radio mainstay and won a Grammy for Best R&B Vocal Performance.

The several modulations couldn’t be clearer (there’s a mini-“intro” after each one before the lyrics of the next verse start!), so we won’t timeslate them.

Howard Jones | Don’t Always Look at the Rain

From our Twitter follower Christopher G. (@cedgray) comes Howard Jones‘ ballad “Don’t Always Look at the Rain.” Jones released 1984’s Human’s Lib, his debut album, to a wonderful reception, reaching #1 on his native UK’s Album Charts in its first week and remaining on that chart for just over a year. The album went gold across the US and much of Europe and made a big splash in Japan.

Christopher points out the “unusual minor-third modulation at 1:39 (and elsewhere),” amid plenty of hybrid harmonies.

Jimmie Rodgers | Kisses Sweeter Than Wine

“Kisses Sweeter Than Wine,” originally a hit for folk singer Pete Seeger and The Weavers in 1950, was released by Jimmie Rodgers in 1957, reaching #7 on the pop charts. The Weavers’ version featured beautiful four-part harmony throughout, as well as a unique recurring piccardy third at the end of each verse. But the pop-friendly release by Rodgers featured a much faster tempo, a much harder swing, and multiple key changes.

This variety show performance of the tune starts at 0:50, with direct half-step modulations at 1:49, 2:11, and 2:37.

Pat Metheny | Are You Going With Me?

It’s difficult to categorize contemporary guitar/guitar synth pioneer Pat Metheny‘s “Are You Going With Me?” (1989). But the key changes are far less ambiguous.

The tune’s intensity grows little by little, driven by the Metheny Group’s trademark wordless vocals and Lyle Mays‘ fluid keyboard lines. The performance was likely heightened by the huge scale of the live setting, Festival International de Jazz de Montréal. The first modulation hits at 3:44; the second key change “telegraphs” melodically by hinting at the shift slightly before its arrival at 5:20.

Weezer | Undone / The Sweater Song

After a long vamping intro (through 0:40), “Undone / The Sweater Song” (1994) by college radio favorites Weezer starts in F# major, modulates up to A major for a guitar solo from 1:51-2:16, then reverts back to F#. In John Luerssen’s biography of the band, frontman Rivers Cuomo says of the band’s debut single, “It was supposed to be a sad song, but everyone thinks it’s hilarious,” and was his “attempt at writing a Velvet Underground-type song.” From AllMusic‘s review: “meticulously crafted…smart, quirky, poignant, and insanely catchy — all characteristics that would go on to define Weezer as a band and their debut as one of the most successful alternative rock records of the ’90s.”

Lily’s Eyes (from “The Secret Garden”)

Featuring one of the great modulations in the musical theatre canon, “Lily’s Eyes” is from the 1991 Broadway musical The Secret Garden (1991), music by Lucy Simon and lyrics and book by Marsha Norman. Sung here by original cast members Mandy Patinkin and Robert Westenberg, the modulation is at 3:22 (the song starts at 0:53).