Paul Davis | Cool Night

“Paul Davis established himself as one of the most appealing singer-songwriters of the late 1970s and early 1980s,” (TheSecondDisc.com).  “Yet the Mississippi native all but walked away from his solo career at the height of his fame, returning to his roots as a behind-the-scenes songwriter and making cameo appearances on others’ hit records.  Before his untimely death in 2008 at the age of 60, Davis notched fourteen Hot 100 hits and eight Top 40s.”

Paul Davis‘ 1981 soft rock release “Cool Night,” which reached #11 on the US pop singles chart and #2 on the US adult contemporary chart, is also sometimes cited as an example of late 70s/early 80s “Yacht Rock.”

The key change is at 2:39, leading into the final chorus.

KT Tunstall | Heal Over

Scottish singer/songwriter KT Tunstall released her debut album Eye to the Telescope in 2004, making a splash in both Europe and North America. The breakthrough hit was “Suddenly I See,” but the release was full of many other gorgeous tunes, including “Heal Over.” Written in E major overall, the tune features a shift to E minor during the the bridge (2:56 – 3:37).

The Cars | Bye Bye Love

“Bye Bye Love,” a 1978 Rock-meets-New Wave hit from The Cars‘ eponymous debut album, features a section built around E major at the start, transitioning to a D major pattern during the gentler pre-chorus (0:48), and then back to E Major (0:59) for the chorus; the cycle then repeats.

Bassist Benjamin Orr on lead vocals and the unmistakably distinctive style of Greg Hawkes on keyboards, covering many of the band’s famously catchy hooks.

Stone Temple Pilots | Sour Girl

Stone Temple Pilots, fronted by the late Scott Weiland, released “Sour Girl” in 1999. The intro (through 0:19) emphasizes G major as a key area, although it also features a flat 7th. The verse (0:19 – 0:56) flips quickly back and forth from D major to D minor (an F# is featured on the melody line on the word “sour ” — coupled with the restless bassline, often suggesting D minor as it shifts as often as every eighth note — adds to the ambiguity).

A far more detailed and scholarly analysis of the tune can be found on the Aaron Krerowicz site.